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LIBRARY 


M. KNOEDLER & CO. 
556-8 FIFTH AVE. 
NEW YORK 


NE el ae 


Cane e re ~ Be Oo Ay Ue ree : ee. “al 
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X PICTURE’ SALE 
* REALIZES $140,645 


5 ia Route” Brings the 


a rice, / 
WAS | ae FOR T 


ee 


: lé - ony iH 
G. Billings the Buyer—* Return, 


ftom oe by Van | 
ht $13,100. ; 


tings eomposing the 

3 made by Edward M. Knox, 

took place last night at Mendels- 

Il and for which some good prices 

: ob ea started in rather tamoaly, 
ntened up at the end. The total 
‘realized at the sale was $140,645. 

Thi “was about $23,000 better than the 
‘Bist D. picture sale of last week, and the 
best price, $13,400, for a Cazin, was $4\' 
1 r than the \highest price at the Bish-; 
op sale. “ La Route” was the Cazin, A, 
rd pariee was expected for it, and the 
was exciting from the time it. 

a “up. until it was knocked down to 

G. Billings. 
ill higher price had pees prophesied 


Returning from Market, ” by Van 


ce, $22,000, experts had said, and 
the picture appeared it was greeted 
warm applause. Bidding started off 
but did not reach the promised high 
mark, going at $13,100.. This, how- 

sr, was a. rise since last year, when the 


picture was sold at the Kauffman. 
$9," 


were as low as $150, he first 


s shown seeming to stimulate littlé 


~A Constable which started at 


oe hardly doubled that sum on bids, 


tr _“A Gypsy Camp” by the same 


ist went better. Two pictures, a ‘Maris 
nd Bonheur, started at $500 each and 


mped by hundreds quickly into the 


f thor sands, while a peculiar Corot climbed 
i up slowly. ‘The prices. of the Mauves were 


[low, compared with the $40,000 paid for: 


“Sheep Coming Out of the Forest ’’ at 
ithe Waggerman sale last year. 

One of the most interesting sales of the 

ming was that of a Michel, ‘‘ The Com- 

‘ing Storm,” which no one seemed to wish 


at first, and which climbed from a few 


ver $2,000, the bidders ay. loath 
st it go at last and bidding wit. 
laven hter and applause. 
is seemed to clear the atmosphere, 
land as more valuable pictures began to 
‘appear » ‘the sale grew interesting, and 


i 
e 
Sor dollars by tens and twenty-fives 
. 


those who had grown weary and departed 


missed the Dent, part of the evening. 


much 


E a j besa “ b. 
| THEMSGUIery Maid, “eon caitteyy-0 vr Wa 


Fle enheimer .....+.++. Saceatieaty 
(George A. Baker, 'N. Aa) to W. 
Strusbe1 yee. 
On the Zuyder Zee,’ ‘(Jan Hermann “Koek- 
koek,) to J. G. t 
he Chevilliard,) to Ww. Scott 


‘The ‘Hunter, (Jules. Aaoiphe. Grison,) to 
SASS ok gen gah 

ithe Smoker, (A. 

| McMillin . 

| Expectations, (Alexandre Marie Guille- 

min,) to Max Arnheim,..... 

‘Sleeping Girl, (John Opie, R, Ac i to. ‘Em- 

| erson McMillin i 

\In the Cardinal’s Study, (P. Weisser,) to 
H, BD. Babcock 

/The Cordon Bleu, (Leo Herrmann,). to 

sWarher Wan INONGeR i nics s'sade eb ea 

Market ‘Scene, Spain,  (S. Clementi) to 

‘Dwight 

| Whitby Pier, (James Webb,) “to ‘Dr. Fr, 

| H. Wiggens ... 

| Making Lace, (A. Provis,) to Jules Oehme 

| Les es Indiscrets, een Georges. ert ) to 


Sheep, _ (Constant “Tréyon,) ‘to "Emerson 
Me Minas eas 
Meggett “(Charles Francois. “Daubig- 
ny,) ‘to Emerson McMillin..:........; 
‘(Charles E, Jacque,) to 36 5 Mor- 


|, Gehan Vibert,) to J. @. 


cn the Stowe, (John Gon: 
to Charles L, Speir. 
, (John Constable, R. 


DNC LLB MERON & tee 


iade a9 a Pena,) 


Crossing the Common, (David “Cox yrto 


Wewts, A duehmater, yaaa g eae eae QTa4 
Venetian Water Front, (Felix Ziem,) “to | 
PLENTY, “CO. LaVelle sb uie hia aoe tee 1,750) 
Near Abinger, Surrey, England, (B. Ww: te 
Léader, R. A.,) to Julius Oehme.. wa) 625)! 
Sunset, (Frederick Ay andes: N. ne ») | 
EO Gh oO WEORTES fs cara aay Lcaay Anon a tare antiae 175 | 
Penny Peep-Show, oT Philip, R, "A 7 ‘to 
UL SY OOM ess ogg besind Ware laa Satas 385 
nn the Coast, Bretagne, (C. Stanfield, 
CS He We Mak Ge Ue aay SRN EGY B Yost: Wan ese uPAR NaN yep NO 350 | 
Noonday, Rest, (#. A. Bridgman, N. A.,) . 
to J. . Morris Bia AMGaanatalscn ie Mb acaldi coal cheats 200) 
enor. ‘(Hugues Merle,) LOOW oe dT. B. 
PEE U SOTA ola a Weshaie potas diguatwush sovace bua uate mea woke 300 
ep ascare, (Antoine Vollon,) to Hermann — 
BSUS ety F2 Bra Beh Set ROS Ar a saree Cb pes mab Ren COR ae Ren aU 3050 | 
A Farm Cottage, (Henry Mosler, N. A. a ceneuena| THE 100 LoTs IN Tr 
to Fischer, Ader & Schwartz...u.¢..)6. 290 BRING © 
On the Cliff, ened Lambinet,) “ NE eae eseafatos con doit 
Ef. Springer ve pes ee 
ae (Geel de “Haas,) th Oe ee r 
SDL TURIN: ole Gina, a alba seseale as aie Sc ReaRcuuar ae 15) 3 nig §§ ‘ 99 ae 
On the Nile, (F. AL Bridgman, IN AR) aoe Cazin’s ““LayRoute Wi 3 
nee Knoedler & Borainahil "He yet.) “te 5 | $13,400 ‘Van LW] ti 
he umpeter, ferdinang oy t, (on ; Bb) 
Robert E. Darling... Pan taet es . ea OO From the Market’ 


f —A Sehreyer Is Sold {tf 


One hundred paintings — | bo 
Col. Edward M, Knox were sold at a 2 
in Mendelssohn Hall last evening for $140,- 
645. Thomas EB. Kirby was the auctior 
A painting by Cazin, “La Route,” bre 
oe highest price, $18,400. “There _ 
bee ie of better Cazins sold 


Winter Scene in Poland, (M.- a W ee 
ski,) to Warner Van Norden. SURE TON OH 
Patience is a Virtue, ee ‘wade A 
R.oA.,) to Fischer, Adler & Schwart Bia sit 
The Leaning Tower of San Pietro, (Felix 
Ziem,) to an agent...., As 
On the Banks of the River, (Corot, tc 
Hmerson McMillin. .. Y 
The Widower, (Josef. " Tsraels,) 
BISON SA cnet) deel dace pre 
| Eventide, (Charles . ‘Jacq Nat 
PROVISEUINUET sag side pik sale a gies a? 
The Children’ 5 Ga 
Frere,) to J.’ Eppst 
The Coming Storm, 
Meier Lehmann .... 
Thorpe, Near Norwich, 
to Jules Oehme |....) 
'Twixt Love and 
to ©. K. °G: Bil 
Depart: du Cantc 
taille;) to J. S. 
The Punishment, 
luanthier ... 
Ewe and Lam ae 
Seott’ Thurber 
Washing Day,. 
PAP VEOMELS eco a. 
The Duet, 
Kraushaar 


Ca Bouse, “Gean © 
)RAGED 8 ck 242 ND EN es 
) The Poacher, ; 
Henry Dugro ion 
he Gor: 


J. Eppstein rae a eee i ran. J apt tye 
| Forbidden» Fruit’ ent, (We eat ee ae cae th; 
Sadler,) to D teh FA ena 300 a ee ie Serta neat Gi >) 

| Who ‘Is It? r. Dendy § r, iia, iscrets,” Lae) 
Hppstein ... 


eben 


ee ee ee ee 


oun? Dia i. SMurray 
itcher,” Mad: Pa oY 


ee eee ee le erm ew 


Andree iis Mi ONC Anein 
| the Well,” Tiere. Oenme. 
Soldier,” Berne-Belle- 


Be ale eee we ee wie 


Ui 
ur; P..D. Duffy. 
; heep,’” 'Schageeny 


talian aban Ji 


L 


* 


ii i . - 
mu dl " ie 


ON FREE 
DAY AND EVENI 


AT THE AMERICAN AR 


MADISON SAU ASE SOUTH, N 


MR. EDWARD 5 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY 


< 


4 ON FRIDAY EVENING, JANUARY 26rH 
BEGINNING PROMPTLY AT 8.15 O'CLOCK 


CATALOGUE 


OF THE 


PRIVATE GALLERY 


OF 


VALUABLE PAINTINGS 


MR. EDWARD M. KNOX 


. TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY 


ON THE DATE HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
THOMAS E. KIRBY 
OF THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK: 1906 


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CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be wm- 
mediately put up again and re-sold. 

2. The Auctioneer reserves the right to reject any bid which is 
merely a@ nominal or fractional advance, and therefore, in hie 
judgment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 

4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, and the 
remainder of the Purchase-money to be absolutely paid, or other- 
wise settled for to the satisfaction of the Auctioneer, on or before 
delwery; in default of which the undersigned will not hold them- 
selves responsible if the lots be lost, stolen, damaged, or destroyed, 
but they will be left at the sole risk of the Purchaser. 


5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold 
subject to the declaration of the aforesaid expert, he being 
liable to the Owner or Owners thereof, for damage or injury 
occasioned thereby. 


6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 

7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale shall be re-sold by publie 
or private sale, without further notice, and the deficiency (if any) 
attending such re-sale shall be made good by the defaulter at 
this Sale, together with all charges attending the same. This Con- 
dition is without prejudice to the right of the Auctioneer to en- 
force the contract made at this Sale, without such re-sale, if he 
thinks fit. 

8. The undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, and 
although they will afford to purchasers every facility for em- 
ploying careful carriers and packers, they will not hold them- 
selves responsible for the acts and charges of the parties engaged 
for such services. 


Tue AMERICAN ART ASSOCIATION, Mawnacens. 
THOMAS E. KIRBY, Avcrionerr. 


Adana 


WeShath. 


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BIOGRAPHICAL NOTES 


DAVID ADOLPHE CONSTANT ARTZ 


Born at The Hague in 1837. Pupil of Mollinger, later of 
Josef Israéls. He made his first impression as a painter of 
peasants, but during later years, possibly because it had been 
said that he had taken his cue from Israéls, he gave his at- 
tention mostly to depicting the life and character of the 
Dutch people who dwell near the sea and gain their liveli- 
hood from its waters. His first exhibits at the Salon won 
for him recognition in the Paris art world. 


GEORGE A. BAKER, N.A. 


Born in New York, 1821. He received his first instruction 
in drawing from his father, an artist of considerable merit, 
studying later at the National Academy. His earlier works 
were miniatures upon ivory. He has devoted himself partic- 
ularly to portrait-painting, his favorite subjects being 
ladies and children. His professional life has been spent in 
his native city. He went to Europe in 1844, studying and 
working for two years upon the Continent. He was elected 
a member of the National Academy in 1851. Among his ideal 
works are “ Love at First Sight,” “‘ Wild Flowers” and 
** Children of the Wood,” belonging to the late M. O. 
Roberts; and “ Faith” and “The May Queen,” in the 
Walters Collection of Baltimore. His portraits, generally of 
private individuals, are in private galleries throughout the 


country. Died April, 1881. 


ETIENNE PROSPER BERNE-BELLECOUR 


Errmenye Berne-Betiecour was born at Boulogne-sur-Mer 
on the 28th of July, 1838. At the age of nineteen he became 
a pupil in Paris of Picot, supporting himself while he 
studied by working as a photographer. In 1868 the painter 
Vibert, who had become his brother-in-law, induced him to 
give up photography and devote hmself entirely to painting, 
and his success was almost immediate. He abandoned land- 
scape, took to figure subjects, and commenced to paint the 
military pieces on which his future reputation was to rest, 
making a voyage to Algiers in quest of motives. The war 
with Prussia recalled him to France and he served in a regi- 
ment of franc-tireurs, receiving a military medal for gal- 
lantry under fire. At the end of the war he surrendered him- 
self entirely to the painting of military subjects, with which 
he took medal after medal, travelled in England, resided in 
Russia as the guest of the Czar Alexander II., practised 
with success as a sculptor and an etcher, and was made a 
member of the Legion of Honor in 1878. 


MLLE. ROSA BONHEUR 


Rosa BonuHeEvr was born at Bordeaux in March, 1822, the 
daughter of a struggling artist who later migrated to Paris. 
Here she was placed at school, but showed such a strong 
determination to study drawing that her father removed 
her and set her to copying pictures in the Louvre. Gradually 
she turned her attention to animals. Her habit of making 
studies of sheep and cattle in the abattoirs induced her to 
adopt male attire as the readiest way of avoiding annoy- 
ance which a woman was liable to meet in such places. Her 
first important picture was ‘* Ploughing in Nivernois,” ex- 
hibited in 1849, followed by the “ Hay Harvest in Au- 
vergne” in 1855, bought for the Luxembourg, and two 


> now in the Metropolitan 


years later by the ‘“ Horse Fair,’ . 
Museum. Her fame was thoroughly assured, and in 1865 
the Journal published the decree of the empress naming 
her Chevalier of the Legion of Honor. She was, however, 
refused admittance to the Institute, but, as if in protest, 
was elected member of the Institute of Antwerp. She lived 
in her chateau By, in the village of Moret, surrounded by 
her animals and beloved by all the people round her, work- 


ing indefatigably up to the age of seventy-two. Died 1899. 


GEORGE H. BOUGHTON, R.A. 


Born near Norwich, England, 1834. He was brought, when 
three years old, to the United States, the family settling at 
Albany, N. Y. As a boy he taught himself to draw and 
paint, and in 1853 was able to make a sketching tour through 
the English lake country, Scotland and Ireland. In 1858 he 
moved from Albany to New York, and two years later went 
to Paris, where he enjoyed the friendship of Edouard Frére. 
Since 1861 he has made his home in London, where, in the 
Royal Academy Exhibition of 1863, he made his first not- 
able success with “ Through the Fields” and “ The Hop- 
Pickers Returning.” He has shown a partiality for subjects 
derived from the early days of the American colonies, and 
these have won him an enviable reputation on both sides of 
the Atlantic. Died January, 1905. 


WILLIAM ADOLPHE BOUGUEREAU 


One day in 1842, or so, there was a veritable riot among the 
students of the Alaux Art School at Bordeaux. It was occa- 
sioned by the award of the prize of the year to a shop- 
keeper’s young clerk, from La Rochelle, who was taking 
daily drawing lessons of two hours each, which his employer 
allowed him to abstract from business. The young Bohe- 


mians had such a contempt for the young clerk that they 
resented with violence the fact that he should win the honor 
of the school above their heads. But Bouguereau received 
the prize in spite of their protests, and it decided his career. 
He determined to become an artist. His family objected. He 
persisted, threw up his employment at the shop, and went, | 
penniless, to live with his uncle, who was a priest at Sain- 
tonge, and to paint portraits of the townspeople for a few 
francs each. Out of his earnings he contrived to save 900 
francs, on which capital he proceeded to Paris, entered the 
studio of Picot, and secured admission to the Ecole des 
Beaux Arts in 1843, at the age of eighteen years. He lived 
by incredible shifts, finally receiving some small assistance 
from his family, until, in 1850, he won the Prix de Rome. 
For four years he was a pensioner and student in Rome, 
and he returned to Paris an artist competent to the execution 
of great works. Public commissions and private patronage 
soon laid the foundation of his fortune. He became a Mem- 
ber of the Legion in 1859, and an Officer in 1876, during 
which year he was also elected a Member of the Institute— 
of which he became President. He received the Medal of 
Honor twice—in 1878 and in 1885—and was decorated with 
numberless foreign orders. Born at La Rochelle, November, 
1825. Died La Rochelle, August, 1905. 


FREDERICK A. BRIDGMAN, N.A. 


Dvrine the early years of the Civil War in this country, a 
regular attendant at the night school of the Brooklyn Art 
Association was a modest lad named Bridgman. He was 
known to be the son of a Southern family who had long been 
residents of Brooklyn; to have been born in Tuskegee, Ala., 
in 1847, and to be employed during the day as an engraver 
by the American Bank Note Company in New York. In the 
class he was looked upon as one of the most accurate and 


painstaking of the students, with so serious a purpose that 
even when a rare holiday came round he was on hand to 
devote it to his own improvement rather than waste it in the 
useless leisure of an idle day. In 1866 young Bridgman 
ceased to be a student in Brooklyn, and it presently became 
known that he had abandoned the steel plate for the canvas, 
and gone to Paris to study art at the Ecole des Beaux Arts. 
Gérome, under whom he worked, became sincerely interested 
in him, and his encouragement had doubtless much to do 
with the young man’s advancement of himself. His first 
exhibited pictures were of subjects drawn from his summer 
sketching tours in Brittany. Next, for a couple of years, he 
painted from material found in the Pyrenees, where he 
settled in 1870. From the Spanish border he went farther 
afield, to Algiers, Egypt, and up the Nile. His personal 
movements can be clearly traced in his works, from his 
** American Circus in France,” which first attracted marked 
attention to him, while he was yet almost a student in the 
schools, down to the latest records of the activity of his brush 
in Algiers. He commenced exhibition in the National Acad- 
emy of Design in this city in 1871, in 1874 was made an 
Associate, and in 1881 became a full Academician. Mean- 
while he had won his medals in Paris, and in 1878 had been 
received into the Legion of Honor. He has latterly devoted 
himself almost entirely to the class of subjects in which the 
barbaric picturesqueness of the North African and Egyp- 
tian peoples is still rich. Mr. Bridgman has his studio in 
Paris. He has written and illustrated from his own sketches 
and pictures a book on Algiers and its people, the text of 
which conforms in interest with its embellishments. 


JOHN LEWIS BROWN 


Born at Bordeaux, the 16th of August, 1829, of a family 
originally English. He became known by his studies of 


horses and dogs, sporting scenes and military subjects. He 
gained medals in 1865, 1866 and 1867, and a gold medal 
at the Exhibition of 1889. Mr. Brown was decorated with 
the Legion of Honor in 1870. He died in Paris the 14th day 
of November, 1890. 


LEON CAILLE 


Born at Merville, 1836. Pupil of Léon Cogniet. Won wide 
popularity by his works in genre, characterized by careful 
execution and an attractive style and color. 


JEAN CHARLES CAZIN 


Born at Samar, in Picardy, and a pupil of Lecoq de Bois- 
baudran, Jean Charles Cazin won his first medals at the 
Salon in 1876 and 1877, by figure subjects. Eventually 
turning his attention to landscape, he speedily secured recog- 
nition as the creator of a new and distinct school, in which 
are combined poetic sentiment and broad, free and simple 
treatment, but with close adherence to the organic facts of 
nature. He had been a Member of the Legion of Honor since 
1882. In 1894 he visited the United States, and made an 
exhibition of his works at the American Art Galleries with 
great success. His wife and son are also artists of ability. 
Cazin died at his country seat near Paris in 1901. 

*“*M. Jean Charles Cazin is one of the most original and fas- 
cinating personalities in contemporary French art. For this 
man painting is not a commerce, but an inspiration; he does 
not sit down with the commonplace purpose of making a mere 
literal transcript of reality, but rather uses nature as the 
means of expression, and, as it were, the vehicle of an in- 
timate ideal; possessing superabundantly that intricate com- 
bination of intuitive perceptions, feelings, experience, and 


memory which we call imagination, he dominates nature, 
and manifests in harmonious creations the enthusiasm, the 
passion, the melancholy, the thousand shades of joy or grief, 
which he feels in his communion with the great sphinx.”— 
Theodore Childs. 


V. CHEVILLARD 


Was born in Italy of French parents. Pupil in Rome of 
Firinelli and in Paris of Picot and Cabanel. His paintings 
of genre and domestic subjects have been received with 
much favor. He was awarded a medal at the Salon of 1891, 
and is a member of the Society of French Artists. 


DAVID COL 


Born at Antwerp, April, 1822. Pupil of De Keyser and 
Antwerp Academy. Medal, Vienna Exposition, 1873. Che- 
valier of the Order of Leopold. 


WILLIAM COLLINS, R.A. 


Born in Great Tichfield Street, London, in 1788; his father 
being a picture cleaner and dealer, and a friend of Morland’s. 
Entered Royal Academy schools; exhibited for the first time 
in 1809. Painted rustic groups, landscapes and coast scenes. 
Father of Wilkie Collins, the popular novelist. Died in Lon- 
don, 1847. 


THOMAS SIDNEY COOPER 


Born at Canterbury, England, in 1803. He was a student 
of the schools of the Royal Academy, London, lived for 
some time in France and Belgium, and was for a few months 


a pupil of Verboeckhoven. He was elected an Associate of 
the Royal Academy in 1845 and a full member in 1867, and 
has received many foreign honors. He was a very conscien- 
tious and diligent worker, and his career was a most remark- 
able one, for he painted almost up to the day of his death, 
which occurred in 1902. 


JOHN CONSTABLE, R.A. 


Born in June, 1776, at Kast Bergholt, Sussex, fourteen 
miles from the birthplace of Gainsborough. Son of a well-to- 
do miller, he was destined for the Church, but preferred the 
occupation of his father, meanwhile receiving instruction in 
drawing from a certain Dunthorne, who gave his instruc- 
tion always in the open air. Finally deciding to be a 
painter, he entered the Academy schools at the age of 
twenty-four, and exhibited his first picture two years later. 
He studied the works of Ruysdael in the National Gallery, 
from which he came to the conclusion that London could 
help him little in his art, and that it was nature which he 
must study, and particularly nature along the banks of his 
native Stour, which in after years he averred had inspired 
his desire to be a painter. He set himself right in the midst 
_of green landscape, and was the first to remove every kind 
of adaptation and arbitrary arrangement in composition, 
and to paint not only what he saw, but in such a way as to 
convey the impression of how he saw it. Especially did he 
advance the study of light and air, and for the first time the 
atmosphere moves and has its being in painted landscape. 
He was ahead of his time, anticipating the triumphs of the 
painters of Barbizon, on whom his influence was undeniable. 
He was happily married, and a legacy to his wife, sufficient 
for their modest needs, enabled him to work, as he said, for 
the future. He was elected to the Royal Academy in 1837. 
His faith in the judgment of posterity has been abundantly . 


justified, and he is now recognized as one of the foremost 
masters of the paysage intime. He died suddenly, April 1, 
1837. 


JEAN BAPTISTE CAMILLE COROT 


Born in Paris in July, 1796; the son of a court modiste. He 
was sent to the high school at Rouen and then apprenticed 
to a linen draper, his father, after eight years’ opposition, 
finally yielding to his desire to be a painter, and allowing 
him a yearly maintenance of twelve hundred francs. He 
studied under Michallon and Bertin, accompanying the latter 
in 1826 to Italy. Here with practice he achieved the accom- 
plishment of rapidly portraying the action of moving fig- 
ures, a skill that he afterwards extended to the delineation 
of foliage stirred by air. His early pictures, whether of 
figures or landscape, are of the orthodox academical type, 
hinting at the future Corot only in the exceeding delicacy 
of their tonal effects and their increasing regard for the 
qualities of atmosphere. It was not until he had returned 
from his third visit to Italy, in 1843, that Corot fell under 
the influence of Rousseau and discovered the charms of 
French landscape. In Provence, Normandy and Fontaine- 
bleau he studied nature, recommencing his artistic life at 
the age of forty and studying for eight years before the 
Corot that the world now recognizes as a master was finally 
evoked. Communing with nature in Ville d’Avray and paint- 
ing in his studio in Paris, he produced during the next 
twenty-five years a series of masterpieces, distinguished as 
much by truth to nature as by their exquisite poetry. The 
latter was an effluence of his own quiet, happy spirit, and of 
the perennial youth of his soul, that found its pleasure in 
music and in nature and in the companionship of his friends. 
He lived with his sister, who died in 1874, and the old 
bachelor followed her the next year. “ Rien ne trouble sa 
fin, c’est le soir d’un beau jour.” 


DAVID COX 


Born near Birmingham, England, in 1783. He began his 
career as a scene painter in a Birmingham theatre, and went 
to London in 1803, where he became a teacher of drawing 
and painting, and practised his profession with great suc- 
cess. His name is identified with a flourishing school of Eng- 
lish landscape painters, of which he was one of the leaders. 
In 1844 he settled at Harborne Heath, near Birmingham, 
where he died in 1859. : 


JOHN CROME (“OLD CROME”) 


Born in Norwich in 1769. Founder of the Norwich school 
of landscape, to which Cotman, Stark and Vincent belonged. 
Son of a poor weaver, he began life as a doctor’s boy, and 
later worked with a house and sign painter. He sketched 
from nature, and a local collection of pictures enabled him 
to study some good examples of Dutch landscape. He also 
visited the collections in London. But he worked in the neigh- 
borhood of Norwich, forming with a few local painters and 
his own pupils the little “* Society of Artists,” founded in 
1805. He rarely exhibited in London, but visited Paris in 
1814. He died in his native city in 1821. 


CHARLES FRANCOIS DAUBIGNY 


Born in Paris in 1817. After studying with his father, Edme 
Francois, he visited Italy, and on his return spent some time 
in the studio of Delaroche. From 1838 he was a constant 
exhibitor at the Salon and became identified with subjects 
drawn from the Seine, Marne and Oise, navigating these 
waters in a floating studio. He had spent much of his child- 
hood in the country near L’Isle Adam and, as an artist, 


turned unreservedly to nature study. The youngest of the 
Barbizon group, he entered into the harvest of recognition 
won by the older men. He was not an exacting analyst, like 
Rousseau; or elevated in mood, as Dupré; not consciously a 
poet, as Corot, or a sharer of Diaz’s fantastic or exalted 
conceptions; only, quite simply and normally, a lover of the 
country. Such a love of nature is a survival of, or a return 
to, the simple associations of childhood, and Daubigny in 
this respect was perpetually a boy. His pictures have the 
freshness and spontaneity of boyhood, expressed with the 
virility of a man. He had more affinity with Corot than with 
any other of the famous brotherhood—less with Corot’s clas- 
sical spirit and deliberately poetic vein than with his sweet, 
perennial youthfulness of character. He was by nature lov- 
able, with a heart that kept its sweetness fresh and unsullied 
to the end. The lovableness is reflected in his work. His death 
occurred in 1878. 


J. H. L. DE HAAS 


Born at Hedel, 1830. Pupil of P. van Os and of the Am- 
sterdam Academy. A cattle painter of well-established repu- 
tation. His success dates from 1855, when he exhibited two 
large cattle pictures at the Salon in Paris. After that he ex- 
hibited every year, increasing his popularity, so that there 
are now very few collectors who do not know his work. 
Medals and decorations he has in abundance. 


JEAN BAPTISTE EDOUARD DETAILLE 


Born in Paris, October, 1848. Favored pupil of Meissonier. 
First exhibited at Salon, 1868. Medals, 1869, 1870, 1872. 
Legion of Honor, 1873. Officer of Legion, 1881. Grand 
Medal of Honor, 1891. Detaille, at his present early age, 
already leads the military painters of France, and has re- 


ceived the highest honors for his patriotism-inspiring pro- 
ductions. 

“‘ Detaille was one of the few pupils of Meissonier whom the 
master ever took into his studio, and the one whom he loved 
above all others. Meissonier it was who influenced him to 
make military painting his forte, both because he had a 
talent for it and because that line of art would be always 
popular among the martial people of France. The finest 
portrait of Meissonier ever painted is in one of Detaille’s 
pictures. The master is shown standing at the curbstone, in 
a vast crowd, watching ‘The Passing Regiment,’ and is 
depicted to the life. The picture was Detaille’s first great 
success, and now belongs to the French Government.” 


NARCISSE VIRGILE DIAZ DE LA PENA 


Born Bordeaux, August, 1809. Diaz—of Spanish descent 
—was third member of the Fontainebleau group. A French- 
man only by the accident of birth, he became one of the Fon- 
tainebleau men by the accident of acquaintance. At Sévres, 
where as a boy he was decorating pottery, he knew Jules 
Dupré, and it was probably through Dupré that he met 
Rousseau and virtually became his pupil. But before Diaz 
knew Fontainebleau or painted its landscape he had served 
his time in Bohemian Paris, painting small figure pictures 
under the influence of Correggio, Prud’hon and Delacroix. 
But these were the years of his groping in the dark. He was 
masterless, homeless, quite adrift. When he joined the Fon- 
tainebleau band and came under the sway of Rousseau’s 
serious personality, Diaz himself grew serious and took up 
landscape painting with an earnest spirit. He never forgot 
his early days of decoration; his Arabian Nights fancies 
never entirely left him. Even when he was painting his 
noblest landscapes, he was often giving them a romantic in- 
terest by introducing small figures of bathers at a pool, 


figures of riders, huntsmen, woodsmen, gypsies. The land- 
scape he did directly from nature, in the forest or on its out- 
skirts, but the figures were figments of his brain, probably 
put in as an after-thought for mystery and color effect. Like 
Turner, he was for making a picture first of all, and if 
certain notes or tones were not in the scene he put them in. 
And who shall gainsay the wisdom of his course in doing 
so? A picture is not necessarily valuable for the amount of 
truth it conveys. Its first affair is to be a picture. Died 
Mentone, 1876. 


EDOUARD FRERE 


Born in Paris, 1819. He was a pupil of Paul Delaroche 
and of the Ecole des Beaux Arts, but it was in retreat at the 
little village of Ecouen that he gradually evolved for him- 
self and the many students who sought his advice the style 
of genre painting that distinguishes him. It was founded 
upon the Dutch masters and influenced in feeling by Millet 
—simple scenes of peasant life, studied with affectionate in- 
timacy, and represented with delicacy of tone and light; 
sometimes a little sentimental, but for the most part tenderly 
poetic. His pictures had a great vogue, and no little influ- 
ence upon the course of genre painting in Europe. He died 
in 1886. 


FRANCOIS FLAMENG 


Born at Paris, 1859. Son of the great engraver, Leopold 
Flameng. Pupil of Cabanel, Edmond Hédouin and Jean 
Paul Laurens. Medal in 1879; Prix de Salon, 1879. Has won 
his greatest repute by the representation of episodes of the 
revolutionary and consular periods in France, which are con- 
ceded to have a distinct historic value, from their accuracy 
of character and detail. 


JEAN LEON GEROME 


At the recent Universal Exposition the President of the 
International Jury of Fine Arts was Géréme. Such a dig- 
nity was a fitting culmination to the fifty-three years of 
honorable recognition which he has enjoyed since winning 
his first medal with “ The Fighting Cocks.” The picture was 
skied; but Gautier discovered it and wrote next day in 
the columns of La Presse: ‘“ Let us mark with white this 
lucky year, for unto us a painter is born. He is called 
Géréme. I tell you his name to-day, and to-morrow it will 
be celebrated.” It was an affected, egotistical utterance, but 
events have proved the accuracy of the judgment. 

Géréme was born in 1824 at Vesoul, and became a pupil of 
Delaroche, whom he followed into Italy. He failed to secure 
the Prix de Rome, but consoled himself by visiting Russia 
and Egypt. From the latter he brought back a number of 
studies which were only superficially interesting compared 
with the work that he gathered in his second visit to that 
country; but the public crowded to see them, and Géronie’s 
popularity was fairly started. It was immensely advanced a 
little later by his “‘ Duel after a Masked Ball,” painted with 
an unpassionate coldness that makes the tragedy the more 
terrible. This complete objectiveness of mental attitude is 
one of his main characteristics. Whether depicting a scene 
of horror, as in the ‘‘ Death of Cesar,’ or of sensuous 
abandonment, as in “ Phryne before the Tribunal,” where 
the famous courtesan unveils her beauty before the judges, 
there is no trace of personal feeling on the artist’s part. 
He makes a cold analysis, and records the facts as dis- 
passionately as a surgeon. The inevitable result is that he 
does not move us either. He stirs our admiration, but leaves 
the emotions cold. 

His store of archeological knowledge was immense. He 
spared no pains to acquire it; thinking little of making a 
flying visit, perhaps to Rome, to gather some morsel of fact, 


ch tianlian De Pees zis : ae ee ee 


and hastening back before the colors on the half-finished 
picture were yet dry. In such a picture as “ The Century 
of Augustus,” in which he represents the culmination of 
Roman civilization and its decline into the Middle Ages, the 
accurate knowledge of detail is almost limitless. 

Géréme was a brilliant draughtsman, skilled in the wisdom 
of the French technicians. His second visit to Egypt en- 
larged the resources of his palette, but color with him was 
not an instinct; it was, rather, a cultivation. He was the 
great exponent of artistic scholarship. Died Paris, January, 
1904. 


JULES ADOLPHE GRISON 


JuLEs ADOLPHE Grison is a native of Bordeaux, and a 
pupil of Lequien. His subjects, almost entirely drawn from 
the life of the seventeenth and eighteenth centuries, exhibit 
him as an artist of infinite humor, acute judgment of char- 
acter and technical skill of a rare order. His color is gay 
and brilliant, his touch rapid and clear, and he possesses the 
faculty, once unique with Meissonier, of imparting to his 
minutest cabinet compositions the solidity and breadth of 
works of the largest scale. 


ALEXANDRE MARIE GUILLEMIN 


Born at Paris, 1815. Chevalier of the Legion of Honor. 
Studied under Gros. Paints genre subjects. In 1877 he ex- 
hibited at the Paris Salon “‘ Los Pordioseros,” a souvenir of 
Upper Navarre, and “ La Mariposa,” of Aragon; in 1869, 
“La Trilla,” souvenir of Aragon, and “ The Atelier of a 
Sculptor ”; in 1864, “ Sunday Morning,” etc. At the Wal- 
ters Gallery, Baltimore, is his “ Print-Vender.”’ Died 1880. 


WILLIAM HELMSLEY 


Born 1819. Brought up to the profession of his father, 
who was an architect, he turned his attention to painting at 
an early age, receiving no instruction in his art. He has 
been a frequent exhibitor at the galleries of the Royal 
Academy and British Institution. Among his earlier works 

e “ A Pinch from Granny’s Snuff-box,” ‘ Come Along,” 
‘The Rustic Artist,” ‘‘ Sketching from Nature,” etc. In 
1862 he sent to the Royal Academy “ A Dangerous Play- 
mate”; in 1864, “ Shrimpers ”; in 1868, ‘‘ Reading the 
News ”’; in 1872, ** Welsh Children”; in 1873, “ For the 
Broth ”; in 1874, “ The Wanderer’s Boy.”’ To the Society 
of British Artists, of which he has been a member for some 
time, he contributed in 1877 ‘“‘ Granny’s Charge” and 
** Feeding-Time ” ; in 1878, “ The Impenitent ” and “ Bread 
and Butter,”’ the last in water-colors. 


ROBERT ALEXANDER HILLINGFORD 


Born in 1828. In 1841 he entered the Academy at Diissel- 
dorf, remaining five years in that city, and working and_ 
studying in Munich, Rome, Florence and Naples before his 
return to England in 1864. While in Rome he painted “ The 
Last Evening of the Carnival,” which was exhibited in St. 
Petersburg in 1859. He sent to the Royal Academy, London, 
in 1866, * Petruchio ”; in 1868, ‘* Before the Tournament”; 
in 1872, “ The Armorer and the Glee Maiden”; in 1873, 
** Munchausen ”; in 1874, “ During the Wanderings of 
Charles Edward Stuart”; in 1875, “A  Manager’s 
Troubles’; in 1877, ‘An Incident in the Early Life of 
_ Louis XIV.” 

Mr. Hillingford has exhibited at Leeds, in different seasons, 
* The Flight of Jessica ” and “ Julia’s Mission,” and among 
his other works (some of them never exhibited) are “ Evan- 


geline,” “ Prince Charlie at Carlisle,” “‘ The King over the 
Water,” “The White Cockade,” “The Marriage Con- 
tract ” and “ The Anteroom.” He is an Honorary Member 
of the Imperial Russian Academy of Fine Arts in St. 
Petersburg. 


COLIN HUNTER, A.R.A. 


Born in Glasgow, 1842. As an artist he was self-taught, 
studying directly from nature. His studio was in his native 
city for some years. At present he is a resident of London. 
He has turned his attention particularly to sea and shore 
pieces, and has been a frequent exhibitor at the Royal Acad- 
emy and the Royal Scottish Academy. Among his more im- 
portant works are, “ Trawlers Waiting for Darkness” (at 
the Royal Academy in 1873, at the Philadelphia Exhibition 
of 1876 and at Paris in 1878), “ The Salmon Fishers ” 
(R. A., 1874), and “ Stores for the Cabin” (R. A., 1878). 
In 1884 he was elected an Associate Member of the Royal 
Academy. 


JOSEF ISRAELS 


Born at Groningen, North Holland, in 1824. As a boy he 
wished to be a rabbi, but on leaving school entered his 
father’s small banking business, and in 1844 went to Am- 
sterdam to study under the fashionable portrait-painter, 
Jan Kruseman. But it was the ghetto of the city, swarming 
with life, that affected his imagination. The following year 
he proceeded to Paris and worked under Picot and Dela- 
roche, entering the latter’s studio shortly after Millet had 
left it. Like Millet, he had no inclination for “ grand paint- 
ing,” and, though he tried to practise it upon his return 
home, it was in the little village of Zandford, whither he 


went for his health, that he discovered his true bent. Again, — 
like Millet, he found his inspiration in the lives of the poor;. 
but, unlike the French master, he invests his subjects with 
intimate peace and lyrical melancholy, veiling his figures in 
an exquisite subtlety of subdued atmosphere. Among the 
moderns he is “ one of the most powerful painters and at the 
same time a profound and tender poet.” 


CHARLES EMILE JACQUE 


Last survivor of the Barbizon-Fontainebleau painters, 
Jacque reached a full meed of dignity and wealth. The varied 
experiences of his early life, joined to a well-balanced mind 
and practical character, had enabled him to escape the early 
harassments which had beset his friends. | 

Born in 1813, he was by turns a soldier and a map engraver ; 
later practising engraving upon wood and etching. In these 
mediums his first exhibits were made at the Salon, and they 
received awards in 1851, 1861 and 1863. His influence had 
much to do with the revival of interest in the art of etching, 
and examples of his plates are held in high esteem by col- 
lectors. Meanwhile, from 1845 he had been training himself - 
to paint, although it was not until 1861 that his pictures 
received official recognition. His sympathies were with rustic 
life, and particularly with animals. The pig attracted him 
as a subject; he not only painted the barn-door fowls, but 
bred them and wrote a book about them. Yet it is for his 
representation ‘of sheep that he is most highly esteemed. 
His experiences with the burin and needle had made him a 
free and precise draughtsman, while his profound study of 
animals gave him complete mastery over construction and 
details, as well as the power to represent their character. His 
fondness for them saved him from any possibility of trivial- 
ity ; he selected the essentials and fused them into a dignified 
unity. His pictures have much of the poetry which char- 


acterized the Barbizon school, and found ready patrons dur- 
ing his life. He died in 1894. 


4 


CONRAD KIESEL 


Tuoven for a time a pupil of Paulsen, in Berlin, Kiesel 
belongs to Diisseldorf. He was born there in 1846, and 
studied, after his return from Berlin, with Wilhelm Sohn. 


PROF. LUDWIG KNAUS 


Born in Wiesbaden, October, 1829. Pupil of Jacobi, and of 
the Academy of Diisseldorf under Sohn and Schadow. After- 
ward he allied himself with Lessing, Leutze and Weber. 
Member of the Academies of Berlin, Vienna, Munich, Am- 
sterdam, Antwerp and Christiania, and Knight of the Order 
of Merit. Medals: Paris, 1853, 1855 (Exposition Univer- 
_ selle), 1859. Medal of Honor, 1867 (Exposition Univer- 
selle). Legion of Honor, 1859; officer of the same, 1867. 
Medals: Vienna, 1882; Munich, 1883. Professor in the 
_ Academy at Berlin. Medal of Honor, Antwerp, 1885. 

** Ludwig Knaus enjoys the unique distinction of being ac- 
cepted by Germany as her chief painter of genre, and by 
the world as one of the leading masters in that art. He was 
a pupil at the Diisseldorf Academy and of Sohn and 
Schadow, but his graduation in art, after a couple of visits 
to Italy, occurred in Paris, where he spent eight years study- 
ing the methods of the French painters.” 


EMILE LAMBINET 


Born at Versailles in 1815. He was a pupil at first of Boise- 
lier and later of Drdlling and Horace Vernet. His land- 
scapes were awarded medals at the Salon, and in 1867 the 
ribbon of the Legion. He died at Bougival in 1878. 


BENJAMIN WILLIAM LEADER 


Born at Worcester, England, in March, 1831. He showed 
early in life a decided talent for painting, and, after some 
preliminary studies, went to London and entered the schools 
of the Royal Academy. Figure painting and sculpture alone 
are taught in this school, but he was not diverted from his 
purpose to become a landscape painter, and in a short time 
began to exhibit. His exceptional skill and his choice of sub- 
jects soon made him popular, and he has long been a most 
successful painter of domestic landscapes. He was elected 
an Associate of the Royal Academy in 1883 and a Member 
in 1896. 


A. A. LESREL 


Born at Genest, in the Manche. Pupil of Géréme. He has 
painted historical subjects, and been also successful in por- 
traiture, but is chiefly popular for his genre pictures of the 
Renaissance period, with rich costumes and accessories. 


JOHN ARTHUR LOMAX 


A PROMINENT English painter of genre and domestic sub- 
jects. An exhibitor at the Royal ae and a Member 
of the B. R.A. 


PHILIPPE J. DE LOUTHERBOURG, R.A. 


Born at Strasburg in 1740. He was the son and pupil of 
a miniature painter, who settled in Paris that the youth 
might gain instruction from Tischbein and Francisco Casa- 
nova, and became a very poular painter of battles, hunts, 
sea-pieces and landscapes with figures and cattle, in which 


¥ 


last he seems to have been influenced by Berchem. In 1768 
he was made a member of the Academy of Painting in Paris, 
and afterwards appointed court painter by the King. In 
1780 he was elected an Associate of the Royal Academy, 
and in 1781 became an Academician. In 1771 he quitted 
France, and spent the rest of his life in England. He died 
at Hammersmith and was buried at Chiswick in 1812. 


RAIMUNDO DE MADRAZO 


Born at Rome in 1841. His father and his grandfather be- 


‘fore him were artists, his brother is an artist, and Fortuny 


was his brother-in-law, so he may be said to have been born 
and bred in the profession. He studied first with his father, 
who was at the head of the Madrid Academy, and then went 
to Paris, entered the Ecole des Beaux Arts under Cogniet 
and studied later under Winterhalter. Intimately associated 
with the famous group of Spanish-French painters of whom 
Fortuny was the chief, he has made a wide reputation for 
skilful technique and vivacity in color. His first great suc- 
cess was made at Paris at the Exposition in 1878, where he 
received a first-class medal and was made a Chevalier of the 
Legion of Honor. At the Exposition of 1889 he received a 
medal and was made Officer of the Legion of Honor. 


JACOB MARIS 


Tue eldest of three brothers, whose father and teacher 
was an able artist of the last century, was born at The 
Hague, 1837. Pupil of Stroebel van Hove, de Keyser, and 
Hébert. Jacob Maris was greatly impressed, while in Paris 
studying with Hébert, with the works of Daubigny, Millet, 
Rousseau, Dupré and Corot. Returning to Holland, his seri- 
ous nature was drawn towards the Dutch landscape, its 


windmills, towns, canals; also to the seashore, with its pic- 
turesque fishing-boats. He was regarded by all his brother 
artists as the greatest contemporary landscape painter in 
Holland. His pictures have steadily grown in the estimation 
of connoisseurs. He died in 1899. | 


ANTON MAUVE 


Anton Mavve was born at Zaandam in 1838. His father — 
was a Baptist minister, and only reluctantly acquiesced in 
his son adopting art as a profession. He became a pupil of 
P. F. van Os, the animal painter, but there was little sym- 
pathy between the two men, and they soon separated. He 
studied much, in the neighborhood of Scheveningen. He then 
spent a long time at a farmhouse known as Kranenburg, 
near Dekkersduin, where the subjects he most cherished were 
ready at hand. Then came his residence at The Hague and 
his close study of the surrounding country. In 1873 his ill- 
health took him to Godesberg, near Bonn. The Rhine did not 
appeal to him—he called its scenery the “ toy box of Na- 
ture.” “ Loving as he did the low-lying Dutch lands, en- 
veloped in soft haze and in rising mist, how could he be 
enthusiastic over the hills and dales and the sharp contrast- 
ing outlines of the scenery of the Rhine? ” In 1883 he finally 
settled at Laren, where Neuhuys, Israéls and Lhermitte were 
also painting, and there he died in 1888. 

“It was truly said when Anton Mauve died that Holland 
had sustained a national loss. Though comparatively a 
young man, he had made a powerful impression on the art 
of his country, and did more than any of his contemporaries 
to infuse into the minds of his fellow-artists higher aims 
and to lead them toward that close sympathy with nature 
which was his own inspiration. He loved the Dutch farms, 
dykes and heaths, and he painted them lovingly and tenderly 
in a direct, simple way. To him his country was not always 


dull, gray and damp, as other artists would have us believe. 
He saw and felt, and shows us its light and sunshine, too. 
Through his pictures we may know Holland as it is, with 
its peaceful peasant life in both field and cottage—not that 
life of hard and hopeless toil that Millet so often painted, 
but the life of peaceful and contented labor which, happily, 
is, after all, the peasant’s more frequent lot.” 

A. C. Loffett has said: “ When I take my favorite walk, 
through Clingendaal to Wassenaar, in the spring or early 
summer—that walk so well known to the inhabitants of The 
Hague—lI often think of Mauve and his light, soft, silvery 
art, that touch so delicate and sympathetic.” 


HUGUES MERLE 


Was born at St. Marcellin, 1823. In Paris he became a pupil 
of L. Cogniet. At the Salon he was awarded medals in 1861- 
1863, and elected a member of the Legion of Honor in 1866. 
He painted some biblical and historical pictures, but chiefly 
employed himself upon genre subjects drawn from humble 
life, and executed on a large scale with great precision of 
treatment. He died in 1881. 


GEORGES MICHEL 


Born at Paris in 1763. He had a strange and checkered 
career, for he ran away with a laundress in his teens, 
restored pictures and earned money in various other ways 
to support a large family, and sketched and painted when- 
ever he could buy, beg or borrow materials. Through all this 
he had a distinct and individual purpose in his art, an inten- 
tion doubtless founded on his study of the old Dutch land- 
scapists, which he carried out so thoroughly that he, al- 
though unrecognized during his life, is now esteemed as the 


forerunner of Rousseau and of his school. His pictures, 
which are seldom signed, are easily distinguishable from 
their great breadth of effect and solidity of treatment. Died — 
in 1843. 


GEORGE MORLAND 


Born in London in 1763. The son of a portrait-painter, he 
received instruction from his father, studied at the Academy 
schools, and assiduously copied the Dutch and Flemish pic- 
tures. As early as 1/79 his sketches were exhibited at the 
Academy. At nineteen he threw off all home ties and began 
a career of recklessness. For a time he was the slave of a 
picture-dealer, from whom he escaped to France. Later he 
lived with his friend William Ward, the mezzotint engraver, 
whose daughter he married. His pictures, distinguished by 
truthfulness of representation, skilful technique, and quali- 
ities of color and light, were prized during his own life and 
are still sought by connoisseurs. Died October 29, 1804. 


HENRY MOSLER 


Born in New York, June, 1841. Pupil of Hébert. Awards 
and honors: Medal, Royal Academy, Munich, 1874; Salon, 
‘honorable mention, 1879; ‘‘ Le Retour,”’ purchased by the 
French Government for the Musée du Luxembourg, 1879; 
Gold Medal, International Exhibition, Nice, France, 1894; 
American Art Association’s Prize Fund Exhibition, New 
York, prize $2,500, 1885; Salon, Gold Medal, 1888; Ex- 
position Universelle, Paris, Silver Medal, 1889; Hors Con- 
cours, 1890; Chevalier of the Legion of Honor, 1892; Of- 
ficier d’Académie, 1892; Archduke Carl Ludwig of Austria 
Gold Medal, 1893; elected Associate of National Academy 
of Design, 1895; Grand Gold Medal and Diploma of Honor, 
Atlanta Exposition, Georgia, 1895; Thomas B. Clarke 


Prize, National Academy of Design, 1896. Pictures pur- 
chased by, and incorporated in, the following museums: 
Luxembourg, Paris; Sydney, Australia; Grenoble, France; 
Louisville (Ky.) Polytechnic Institute; Pennsylvania Acad- 
emy of Fine Arts; Cincinnati (Ohio) Museum; Springfield 
(Mass.) Museum. 


LUDWIG MUNTHE 


A NorweEcian painter, born at Aaroen, near Bergen, March 
11, 1841; was a pupil of Schiertz in Norway, and of A. 
Flamm in Diisseldorf. After travelling in Italy, France and 
the Netherlands he settled in Diisseldorf. It was as a land- 
scape painter that he made his name, usually choosing 
sombre scenes suggested by those of his native land. His 
pictures have been highly prized abroad, and as Swedish 
Court Painter he obtained the Olaf Order, the Leopold Order, 
and the Legion of Honor, a first-class medal at the Paris 
Exposition of 1878, and gold medals at Amsterdam, London, 
Vienna and Berlin. He died March 30, 1896. 


ERSKINE NICOL 


Born at Leith, Scotland, in July, 1825. He began life as a 
house-painter, and while he was thus engaged he studied 
drawing at the Academy in Edinburgh. He became, later, 
the instructor of drawing in the High School of his native 
town, passed some years in Dublin as a drawing-master and 
finally settled in London in 1863. He became well known 
as a popular painter of domestic genre subjects, many of 
them of a humorous nature, and was greatly esteemed as a 
colorist. He was a Member of the Royal Scottish Academy 
and was elected an Associate of the Royal Academy in 
London in 1866. Died March, 1904. 


BALTHAZAR P. OMMEGANCK 

Born at Antwerp, December 26, 1755; died there January 
18, 1826. Animal and landscape painter. Pupil of H. J. 
Antonissen. He received many honors. Was made a Knight 
of the Order of the Belgic Lion; elected a member of several 
learned societies, and appointed in 1815, by Belgium, one 
of the Commissioners to reclaim from France the works of 
art which Napoleon had acquired by force of arms during 
the previous war. Rector of Guild of St. Luke, Antwerp, in 
1789, and Professor in Academy, 1796. 


JOHN OPIE, R.A. 


Born at St. Agnes, near Truro, Cornwall, in 1761. Began 
to paint at the age of ten and sold portraits at sixteen. In 
1780 he was introduced to Sir Joshua Reynolds -by Peter 
Pindar as the Cornish genius. He painted some historical 
subjects, but excelled in portraits, which are distinguished 
by fidelity and directness. In 1805 he was chosen professor 
of painting at the Royal Academy. Died in London, 1807, 
and was buried in St. Paul’s Cathedral. 


JOHN PHILIP 


Was born at Aberdeen, April 19, 18177. His parents were of 

humble condition, but from his youngest days he showed a 
strong inclination for art. He was apprenticed early in life 
to a house-painter, where he made his first effort in art by 
trying to copy a portrait of Wallace from a sign-board 
which hung on the opposite side of the street. He is said to 
have received some instruction from Mr. Forbes, a local por- 
trait painter, but in 1834 he went to London as a stowaway 
on a brig belonging to a friend of his father. On arriving 


in London he was kept hard at work, but contrived to visit 
the exhibition of the Royal Academy at Somerset House. 
He attracted the notice of a Major Pryse Gordon, who 
recommended him to Lord Panmure, by whose generosity 
he was placed as a pupil with T. M. Joy. In 1837 he entered 
the Academy as a student, and in 1839 he exhibited two pic- 
tures, “* A Moor” and a portrait. In 1840 he exhibited his 
first subject picture, ‘* Tasso in Disguise, Relating his Perse- 
cutions to his Sister,” and in the same year he returned to 
Aberdeen, where he was principally employed in painting 
portraits. In 1846 he again sought London, where he con- 
tinued to have his domicile till his death. In 1864 appeared 
**La Gloria—a Spanish Wake,” bought for the Scottish 
National Gallery, Edinburgh, in 1897, for £5,250. In the 
spring of this year he went to Rome to pass the winter, but 
ill-health brought him back to London, where he was attacked 
by paralysis, and died February 27, 1867. 


VICTOR LEON FERDINAND ROYBET 


Wuen, at the Salon of 1866, the “ Jester of Henry III.” 
won for its painter his first medal, France hailed in Roybet 
a new prophet in current art. The combination of a true 
feeling for color with vigorous expression of form and cor- 
rect decorative instinct was then an uncommon quality in 
the studio. Roybet painted with a naturalistic power, yet 
also with a pictorial sympathy which did not permit of the 
doctrine of the realists that anything that could be painted 
was good enough to paint. He required that his subject 
should be as attractive as its rendition was accurate. His 
cavaliers and ladies, his groups and cavalcades, were not only 
picturesque in themselves and realized with remarkable vivid- 
ness and vitality, but they were presented in picturesque in- 
cidents and surroundings. The painter is a native of Uzés, 
in the Garde, and was born in April, 1840. He had begun 


the study of art at the Ecole des Beaux Arts at Lyons, and 


settled in Paris not long before his début at the Salon. An - 


immediate favor followed the warm critical reception of his 
first works, and he entered upon a career of success to which 
years have only added, and which has made his name 
familiar throughout the civilized world. To successive exhibi- 
tions he sent a splendid series of canvases, representing 
social and historical episodes of the past, in each of which 
his powers found stronger and ever stronger expression; and 
in the art world itself, and in that of the art lovers whose 
collections his brush has enriched, he enjoys an esteem which 
is commensurate with his genius, at once so brilliant, original 
and sincere. An exhibition of his collected works in Paris 
last year was the occasion of an enthusiasm which has been 
rarely aroused by any display in that city of the produc- 
tions of a single hand. 


ADOLPHE SCHREYER 


THERE is no suggestion of the German in the art of 
Schreyer, yet it was in that most German of cities, Frank- 
fort-on-Main, that he was born in 1828. Théophile Gautier, 
who admired his pictures to the verge of extravagance, once 
defined him as “a Teutonic accident.” Schreyer was, how- 
ever, fortunate in coming of a family of wealth and distinc- 
tion, in consequence of which he was permitted from his 
youth an independence of movement and study which liber- 


ated him from the then restricted influence of his native art. - 


He travelled much, and painted as he went. In 1855, when 
his friend, Prince Taxis, went to the Crimea, he accom- 
panied the prince’s regiment, and at this period he began 
producing those battle scenes which gave him his first fame. 
Wanderings in Algiers, and along the North African coast 
into Asia Minor, resulted in those pictures of Arab life 
which are so popular, while visits to the estates of his family 


SS 


o. ~ ee ee ee 
Re eo ee eS, oe PS a 


and his friends in Wallachia provided him with another of his 


familiar classes of subjects. Schreyer was essentially a crea- 


tive painter. He found his subjects in nature. His memory 
was a mine of models for him. But everything he painted is 
imbued with his own spirit, too dashing and bold and resolute 
to secure the subtle poetry of Fromentin, and too refined in 
feeling to rival the fierce force of Delacroix, but always in- 
stinct with life, movement, and the ripe and rich reflection of 
the artist’s colorful mind. Between these two great painters 
Schreyer’s manner is a happy compromise, entirely inde- 
pendent of servile imitation, an expression, in fact, of a 
sympathetic recognition of kindred spirits in them. Until 
1870 Schreyer was a resident of Paris, but thereafter 
he divided his life between that city and his estate at 
Kromberg, near Frankfort, where he lived surrounded by 
his horses and hounds, practising his art with an energy 
that advancing years were unable to impair. He was in- 
vested with the Order of Leopold in 1860, received the 
appointment of court painter to the Duke of Mecklenburg 
in 1862, was a member of the Academies of Antwerp and 
Rotterdam, and received first medals at all the important 
European expositions between 1863 and 1876. Died 1899. 


CLARKSON STANFIELD, R.A. 


Brean life as a sailor. With a decided taste for art from his 
youth, and fondness for the drama, he became a scene- 
painter, exhibiting his first pictures of a smaller character 
in the galleries of the Society of British Artists, of which 
he was an original member, in 1823. His “ Wreckers off Fort 
Rouge,” one of the earliest of his important works, was ex- 
hibited at the British Institute in 1827. He first exhibited at 
the Royal Academy about the same year, and was elected an 
Associate in 1832, and Academician in 1835. He travelled ex- 


tensively on the Continent painting many landscapes, but his 
most successful works were his marine views, many of which 
have been engraved. His “ Battle of Trafalgar ” belongs to 
the United Service Club in London; his “ Wind against 
Tide” (in the Paris Exposition of 1855) was painted for 
Robert Stephenson. ** The Victory towed into Gibraltar after 
Trafalgar ” and the “Siege of St. Sebastian” were in the col- 
lection of Sir Morton Peto. In the National Gallery, London, 
are his “ Entrance to the Zuyder Zee” (R. A., 1844), a 
sketch of his “ Battle of Trafalgar,” his “ Lake Como,” 
and “The Canal of the Giudecca.” His pictures are very 
popular and command very high prices. At the sale of the 
collection of Charles Dickens, in 1871, a thousand guineas 
were given for a view of ‘* Eddystone Lighthouse,” a scene 
painted by Stanfield in the course of a few hours for one of 
the famous amateur plays organized by Dickens and his © 
friends. 


FRANCIS WILLIAM TOPHAM 


Born in Leeds, 1808. He began life as an engraver in 
his native city, removing to London about 1830. Shortly 
after joining the Institute of Painters in Water Colors, he 
devoted himself to painting Spanish, Welsh and Irish 
peasant life with marked success. Leaving the Institute, he 
became an active member of the Society of Painters in Water 
Colors, contributing, among other sketches, * Irish Court- 
ship,” ‘ Welsh Cabin,” ‘ Spanish Gypsies,” “*‘ Reading the 
Bible,” etc. Among his later works are “‘ Preparing for the — 
Fight’? and “ Waiting by the Stile,” exhibited in 1872; 
** The Bird’s Nest ”’ and “ Listening to the Love-Letter,” in 
1873 (sent to Philadelphia in 1876); “ Wayfarers ” and 
“A Welsh Stream,” in 1875; and after his death, in 1877, 
** Blackberry-Gatherers ” and “ Haymaking.” Two of his 
works, “‘ Venetian Water-Carriers ” and “ The Eve of the 


Festa,” were at the Paris Exposition of 1878. His death 
occurred in Spain in 1877. 


CONSTANT 'TROYON 


Born at Sévres in 1810. He worked for a while painting 
porcelain in the manufactory at Sévres, at the same time 
with Diaz and Dupré, and like them, soon determined to 
devote himself to landscape art. He studied under Riocreux 
at Paris, and first exhibited at the Salon in 1833. Up to the 
time of his visit to Holland, in 184'7, he painted landscapes 
exclusively, and became well known in this branch of art. 
His studies in the Netherlands apparently changed his pur- 
pose thoroughly, and from that time on he made his land- 
scapes subordinate to his cattle. His “* Oxen Going to Work,” 
now in the Louvre, was painted in 1855, and represents him 
in the apogee of his career. He was a legitimate successor of 
Brascassat, but his art has no rival in its grandeur of sim- 
plicity, virility and serenity. ‘“‘ While Troyon excelled in 
painting a variety of animals, as dogs, sheep, and even barn- 
yard fowls, still it was as a painter of cattle that he reached 
his greatest height. Nor was it merely their outward forms 
that he portrayed. He had a realizing sense of their char- 
acter, their habits, their life, as the willing servants of man. 
To us, those heavy-yoked oxen, with bent necks and meas- 
ured tread, dragging the plough along the furrows, are liv- 
ing, breathing creatures; and those great awkward cows 
lazily resting their heavy bodies on the ground, contentedly 
chewing their cud, are absolutely so alive and real that an 
expert could tell at a glance how much they weigh; and the 
spectator almost fears that a near approach might bring 
them slowly to their feet, and they would walk out of the 
canvas.” In a word, “ His cattle have the heavy step, the 
philosophical indolence, the calm resignation, the vagueness 
of look, which are the characteristics of their race.” He 


received medals at the Salon in 1838, 1840, 1846, 1848 and 
1855, and was made Chevalier of the Legion of Honor in 
1849. Troyon died in Paris, 1865. 


CHARLES F. ULRICH 


At the spring exhibition of the Academy of Design in 1880 
appeared for the first time a young New Yorker, a painter 
of modern genre works of a singular brightness and elegance 
of execution, named Charles F. Ulrich. He was the son of a 
German photographer, who had himself practised painting 
in former years, and was born in New York in 1858. Young 
Ulrich was taught drawing by Professor Venino, a well- 
known master in his day, studied in the National Academy 
schools, and in 1873 went abroad, where he remained for 
eight years. He studied at Munich under Professors Lofftz 
and Lindenschmidt, and exhibited his first pictures in Ger- 
man exhibitions, commencing with that of Diisseldorf in 
1880. His cabinet pieces, full of character, minute in execu- 
tion, and brilliant with their rendition of light, were entirely 
new to our art, and may be said to have marked a new de- 
parture in it. Without being in any sense imitations, they 
showed that the artist had been a close student of the old 
Dutch detail painters of the type of Van der Meer and Pieter 
de Hooghe. His maner and matter were, however, entirely 
modern. He followed his first successes with his “ Glass- 
blowers,” which was one of the notable pictures at the Acad- 


emy in 1883, and which afterward received high praise in — 


Paris, and in 1884 secured the Thomas B. Clarke Prize 
- upon its first award, with a picture of the immigrant station 
at Castle Garden, called “ In the Land of Promise.” His pic- 
ture of the interior of a Venetian glass factory was awarded 
the $2,500 prize at the American Art Galleries in 1886, and 
is now in the collection of the Metropolitan Museum of Art, 
New York. Mr. Ulrich was elected an Associate of the Na- 


oe, ee Se 


tional Academy in 1883, and was one of the founders of the 
Pastel Club. Some years ago he returned to Europe and now 
has his studio in Venice. 


EMILE VAN MARCKE 


Tue most distinguished pupil through whom Troyon be- 
queathed to the succeeding generation a reflection of his own 
genius was Emile van Marcke. Van Marcke was born at 
Sévres in 1827, of artistic stock. He was employed in the 
porcelain works as a decorator when he attracted the atten- 
tion of Troyon. The latter was in the practice of making a 
weekly visit to his mother, who resided at Sévres, and so the 
young decorator and the elder artist were frequently in con- 
tact. The constant sermon of Troyon was that the gifted 
youth should go to nature, and Van Marcke, in the time 
spared from his trade, obeyed the injunction. Van Marcke’s 
early pictures betray strongly the feeling and influence of 
Troyon. While more careful in drawing and more elaborate 
in detail, their color and technique show the association of 
the master. But with increasing confidence and experience, 
Van Marcke created a style with which he is now thoroughly 
identified. He was a master draughtsman, equally a master 
of composition, and the grouping and modelling of his 
cattle are always pictorial and true. His landscapes are of 
an equal degree of excellence, and are replete with the charm 
of a joyous and smiling nature. Effects of midsummer mid- 
day and of showery skies over pastures enriched by a humid 
soil find particularly happy rendition at his hands. Van 
Marcke appeared first at the Salon in 1857, and was suc- 
cessively medalled in 1867, 1869, 1870, and at the Exposi- 
tion Universelle of 1878 he received a medal of the first 
class. He was invested with the ribbon of the Legion of 
Honor in 1872, and since then he received many additional 
medals of honor. Died January 7, 1891. 


EUGENE JOSEPH VERBOECKHOVEN 


Born at Warneton, West Flanders, in 1799. His father was 
a sculptor, and he began to learn drawing from him. Later 
he studied in Germany, France, England and Italy, and 
finally settled in Brussels. He received medals at the Salon 
in 1824, 1841 and 1855, and was made Chevalier of the 
Legion of Honor in 1845. He was a member of the Royal 
Academies at Brussels, Antwerp and St. Petersburg, and 
received many decorations. Died in 1881. 


JEHAN GEORGES VIBERT 


Was born in Paris, 1840. One of the strongest individual- 
ities among the artists of Paris was Vibert. He was not only 
a painter, but a satirist of drastic power and an author of 
pointed excellence. A Parisian by birth, whose master, if he 
may be said to be a pupil of any one, must be considered 
to be Barrias, although he also did some early work under 
Picot. He first exhibited at the Salon of 1863, and made a 
virtual failure. His active intelligence gave a new direction 
to his art, and seven years later, at the age of thirty, he was 
decorated with the Cross of the Legion for his “ Roll Call 
after the Pillage.” His good-humored satires on the hypoc- 
risy and self-indulgence of monkish and ecclesiastical life 
did much toward advancing him in popularity, and one of 
the latter, “ The Missionary’s Story,” may be recalled as 
having been sold in this city, at the sale of Mrs. Morgan’s 
collection in 1886, for $25,000. Vibert was not content with 
triumphs in oil alone, but, spurred by the exploits of For- 
tuny in water color, he began in it a series of experiments 
that have placed him among the first aquarellists of the 
world. He was the leader in the movement that resulted in 
the formation of the now powerful Society of French Water 
Colorists, a society that, by its lofty standard, really forced 


the Salon into a marked reform in the character, and im- 
provement in the quality, of the pictures it accepted for 
exhibition. Vibert died July 28, 1902. 


ANTOINE VOLLON 


Tue death of Antoine Vollon, ‘following within a month the 
receipt of the highest honor, the Grand Prix, robbed France 
of one of its most brilliant painters. 

In 1871 an exhibition of his work caused a sensation at the 
Royal Academy in London; it was so completely the op- 
posite of what was then admired in England, and yet it 
compelled admiration. Instead of choosing a sentimental 
subject of human life, he extracted sentiment from the com- 
monest things of still life, with a sumptuous use of color 
and a virility of method by the side of which the mechanical 
manipulation of the academically directed brush seemed tame 
and nerveless. 

Even in France it had been some time before his genius had 
been recognized. He was born at Lyons in 1833, and became 
a pupil of its Academy, afterwards studying with Ribot in 
Paris. At first he was rejected by the Salon, and did not 
receive his first medal until 1865. In 1868 and the following 
year came others, and one of the first class in 1870, in which 
year also he was elected a Chevalier of the Legion of Honor. 
Eight years later he was awarded the Officer’s Cross as well 
as a gold medal, on the occasion of the Universal Exposi- 
tion. In 1897 he was chosen a member of the Institute, and 
at the Exposition of 1900, as already mentioned, received 
the Grand Prix. 

His reputation was established by his pictures of still life; 
but in 1876 he astonished everybody by sending to the 
Salon a single life-sized figure of a fisher-girl at Dieppe, 
and in the following year repeated the surprise with a land- 
scape. Many others have appeared since, which serve to 


prove his versatility and which possess a vigorous directness 
and much charm of expression. 

As all true colorists, Vollon composed like a musician, and 
added to that natural genius the virtuosity of the executant. 
He died in 1900. 


J. VROLYK 


Born at The Hague, 1846; died there 1894. Pupil of P. 
Stortenbeker. A very able painter of pastoral scenes with 
cattle. His works show fine color and atmosphere, and are 
highly appreciated by connoisseurs. Of a jovial character, | 
he was liked by every one, and his death, the result of a cold 
contracted while sketching in a damp pasture, was deplored 
by all who knew him. 


JAMES WARD, R.A. 


Born in London, 1769. Animal painter and engraver. 
Studied engraving under John Raphael Smith, and served 
an apprenticeship to his eldest brother, Wiliam James 
Ward, mezzotint engraver. He himself practised as an en- 
graver for some years and then turned to painting, imitat- 
ing the style of his brother-in-law, George Morland. In 
1794 he was appointed painter and engraver to the Prince 
of Wales, and devoted himself entirely to the painting of 
animals. Died at Cheshunt, 1859. 


FELIX ZIEM 


Ziem was born in 1821 at Beaune, a little town twenty-three 
miles southwest of Dijon. At the Academy of that city he 
received the art education which he supplemented by study 
from nature in the south of France and in Holland, receivy- 


ing his first Salon medal in 1851 for a. picture of Dutch 
scenery. Then he visited Constantinople and Italy, and 
found his true bent. Pictures of the Golden Horn and of 
St. Mark’s Place, exhibited in 1857, made an unusual sensa- 
tion; he was elected to the Legion of Honor, and the re- 
mainder of his life has been devoted to variations on the 
dream of light and color represented in those two pictures. 
He has shared with Rico a recognized position as a painter 
of Venice, but while the former depicts fragments of the 
city under the broad glare of noonday, Ziem has chosen 
wider horizons and rendered especially the dreaminess of 
morning light or the splendor of sunset, and in a spirit alto- 
gether more romantic. In the Eastern subject contained in 
the present collection, there is again this feeling for the 
romantic suggestion of the scene. 


SALE AT MENDELSSOHN HALL 


FRIDAY EVENING, JANUARY 26ru, 1906 


BEGINNING PROMPTLY AT 8.15 o’cLocK 


No. 1 — hy ot 
LEON CAILLE yi 
FRENCH 
1836— 
THE SCULLERY MAID 
Water Color (?. Phe te 
A YOUNG girl in négligé attire, with bare s and 


shoulders, is seated in a rush-bottomed chair near the 
kitchen fireplace, preparing onions for cooking. In 
the foreground is a pewter dish with the same vege- 
tables, and behind the figure is a dresser with a pew- 
ter soup tureen and a brass candlestick. A. wooden 
salt box hangs on the wall beside the fireplace. 


Signed at the lower left, CarLix. 
Height, 414, inches; width, 314 inches, 


~. $ 


No. 2 


GEORGE A. BAKER, N.A. 


AMERICAN 


ene tt y_ 
HEAD VA Tr: Vl 


Tuis is a study of an Italian maiden in characteyjstic 
costume of white headdress, low-cut white chemise 
and red bodice. Her head is turned to the left and in- 
clined over her right shoulder, and around her neck 
is a gold chain with a pendant. The background is a 
simple graded tone of gray. 


Signed at the lower right, G. A. Baxrr, 1874. 
Height, 7% inches; width, 6 inches. 


No. 3 


y 
fr 
“hess? 


5 
JAN HERMANN KOEKKOEK A) mp 
DUTCH 


1778—1851 Ow Nn leet 


ON THE ZUYDER ZE 


In the foreground on a low rocky elevation, raised a 
few feet above a tumbling sea, is a large group of 
fishermen engaged in various occupations, and on 
the right a wooden pier, where a small boat is mak- 
ing a landing, extends into the shallow water. In the 
middle distance are two small sailing craft, with 
bellying canvas, wallowing through the heavy sea, 
the nearer one throwing,a cloud of spray over her 
bows. The sky is covered with rapidly drifting storm 
clouds, showing a small area of blue in the EL 
corner. 


Signed at the lower right, H. KorxKKoex. 
Height, 7 inches; length, 8% inches. 


ee Fe a 


Ss V. CHEVILLARD 


No. 4 


FRENCH 


Contemporary TA 
AT HOME G/- d 
AN old priest, in full black robes, stands with his 
back to a fire built on the hearth of a stone fireplace 
hung with a richly embroidered curtain. A steaming __ 
cup of tea stands on the shelf, and a comfortable- __ 
looking cat sits on the floor beside her master. The _ 


priest is evidently enjoying the comforts of an in- 
terior to which he is well accustomed. 


Signed at the lower left, V. CHEVILLARD. 
Height, 9 inches; width, 6% inches. 


No. 5 


JULES ADOLPHE GRISON Ww A “ 
FRENCH f h ae . 
oval ie 


THE HUNTER ae: A; 


A sturpy old Germa ee or hunter is 
smoking his large pipe, standing with his back to a 
wood fire, evidently warming himself after a trip in 
the forest. His tired dog lies by his side, and hang- 
ing to the chimney jambs on the right is a bunch of 
onions, while various utensils are standing on the 
rough shelf along the fireplace opening. 


Signed at the lower left, Grison. 
Height, 1014 inches; width, 8% inches. 


aay 
ee, eo 
> ooo. r 
« aR 


No. 6 _ | a 


A. A. LESREL a 
FRENCH 7 


Contemporary re. > oa 
K ; 


VORA 
THE SMOKER“ 


A. CAVALIER in rich costume of green figured dam- 
ask trimmed with gold, a mauve doublet, purple 
velvet breeches, white buckskin boots and gray hat, 
is seated at his ease in a carved chair, holding his 
wheel-lock in his one hand and a tobacco pipe in the 
other. Nearby, on the floor, stand a rich glass flask 
and a large goblet. 


Signed at the lower right, A. A. Lxsret, 1891. 
Height, 1114, inches; width, 9 inches. 


Morietta Collection, London, 1893. 


No: 7 


ALEXANDRE MARIE GUILLEMIN f[ $3 
FRENCH 


1815—1880 


EXPECTATIONS 4a) athe Biche 


A LITTLE peasant lad, with bare feet and shabby gar- 
ments, is standing holding a half loaf of bread and a 
large pocket-knife in his hands. He is evidently fas- 
cinated by a cheap print of a Zouave fastened to the 
rough wall nearby. 


Signed at the lower right, GUILLEMIN. 
Height, 9% inches; width, 7% inches. 


No. 8 


JOHN OPIE, R.A. 
ENGLISH 
176171 807 


AY I AAR YE 
SLEEPING GIRL 


THIs is a study of a young girl who, having gone to 
the spring with her jug for water, has seated herself 
on the turf and, resting her head on both arms sup- 
ported upon a green bank, is quietly sleeping. A 
shaft of sunlight strikes the little figure, strongly 
accentuating the flesh and drapery, and touching 
here and there the large tree trunks and the foliage 
in the background and glinting on the surface of a 
pool under the trees. 


One 


Height, 10 inches; width, 8 inches. 


No. 9 


F. WEISSER 


GERMAN 


Contemporary Gs 
Y New. 


IN THE CARDINAL’S STUDY 


AN aged cardinal is seated in a velvet-covered easy- 
chair, near a table laden with books, papers and other 
objects, reading an ancient volume. Leaning over 
the table at his side is a serving maid, offering him a 
sealed letter. 


Signed at the lower left, F. Weisser, ’87. 
Height, 10 inches; width, 634 inches. 


Che aetna SSS ances. Ses SS eee i SBR ina Re EES 


oe Se 


Be 


No. 10 


LEO HERRMANN 
FRENCH 


Cones rary 


(py 


THE CORDON BLEU 


A coox, who, from his attire and his expression, is 
apparently very successful in his profession, is seated 
in a pleasant garden taking his coffee, and, at the 
same time, reading the Figaro, which he holds in both 
hands, absorbed in some humorous article. His feet 
are thrust out, and he leans back in his chair in an 
attitude of careless ease, with his bandanna handker- 
chief thrown across his right knee. Behind him is a 
border of turf and flowers and a dense screen of 
bushes and forest trees. A few dry leaves are scat- 
tered over the gravel in the foreground. 


Signed at the lower right, Lro Herrmann. 
Height, 614, inches; width, 414, inches. 


No. 11 


S. CLEMENTI 
ITALIAN 


ew 2 pbhrrreh_f 


MARKET SCENE, SPAIN 


Tuis shows a country fair or market near Seville, 
with a long row of booths on the right and a multi- 
tude of people gathered nearby. In the foreground 
on the right is an open-air kitchen wth a cook pre- 
paring some savory dish in a large saucepan, and on 
the left is a group of people apparently just arrived 
from town, who are being somewhat rudely urged by 
a woman to approach the booths and purchase the 
wares. 


Signed at the lower right, Girementt, Seviixa. 


Height, 7 inches; length, 12 inches. 


No. 12 


JAMES WEBB 
SCOTCH 


Contempor 
roy 


WHITBY PIER 


In the right foreground is the end of a strong pier” ¥ 


crowded with fisher folk, and at the extreme end are 
two small structures and several rough signal poles. 
On the left, and extending to the extreme distancé; 
is a tossing, tumbling, foam-covered sea, the straight 
horizon line of which is broken only by the outlines 
of a low island in the extreme distance. The sky is 
covered with turbulent storm clouds, and the light 
is concentrated near the horizon at the left. | 


Height, 734 inches; length, 14 inches. 


No. 13 


A. PROVIS 
ENGLISH 


a” Contemporary 


@ 

MAKING LACE ee 
A YOUNG woman is seated”in the upper room of a 
rude cottage near a latticed window, holding in her 
lap a large cushion, on which she is making lace. At 
her feet sits a small child watching a kitten drinking 
milk out of a plate, and to the left is a basket of 
vegetables. The sunlight from the window on the 
left strikes the rough wall of the room and illumi- 
nates the interior with a warm light. In the back- 
ground are a bird-cage hanging from the rafters 
and various articles of domestic use. 


Signed at the lower right, A. Provis, 1870. 
Height, 10 inches; length, 12 inches. 
From Royal Academy Exhibition, 1871. 


No. 14 


JEHAN GEORGES VIBERT 
FRENCH 


1840—1902 | ae 3 q 
LES INDISCRETS : | 


Two cardinals are gossiping over a letter which one 
of them, seated on a decorated balcony, has selected 
from a bunch which he holds in his lap and reads to 
his companion, who approaches from behind and 
leans over the rail. Beyond the figures is seen a wide 
landscape with the spire of a church and the outlines 
of a large tower in the extreme distance. 


Signed at the lower right, J. G. Vieert. 
Height, 844, inches; width, 6 inches. 


f 
| 
No. 15 e 0) | 
CONSTANT TROYON : 
FRENCH i 
1810—1865 i 
Beh i 
SHEEP a Va | 
Tuis is a study of three sheep in full sunlight stand- | i 
ing in a pasture, the near one in profile, the next in i 
full face and the third seen from behind. The back- | 
ground is a broken tone of green, suggesting tall | 
grass and bushes. | | 
Signed at the lower left, C. T. } 
Height, 914 inches; length, 1334 inches. i 
Murirra Collection, London, 1893. ! 2 
Troron Exhibition, Goupil’s, Paris, 1894. | : 


No. 16 


CHARLES FRANCOIS DAUBIGNY 


FRENCH e he x, 


1817—187 


ga 


— 


LANDSCAPE Ne" 


THE motive for this picture was found in the region 
where the artist painted so many of his successful 
pictures. A wide river flows from the left diagonally 
across the picture, and in the middle distance makes 
a turn, where it is crossed by a stone bridge with 
three arches. In the right foreground a grassy bank, 
crowned by a clump of small trees, slopes down to 
the water’s edge, where two boats are moored to the 
shore, and across the river is a wooded hillside with | 
here and there tall, stately poplars. The sun has dis- 
appeared below the horizon, and in the lower part of 
the sky is a warm sunset glow, which is reflected in 
the quiet surface of the river. 


Signed at the lower right, Daunicny. 


Height, 8%, inches; length, 14Y, inches. 


No. 17 | a gn i Hi 
CHARLES EMILE JACQUE 0} 
FRENCH 


181 aay, 
Pi pete 


PIGS . 

A HALF-DOZEN a dun-colored swine are 
gathered around a low wooden trough which stands 
on a straw-covered floor of a piggery. After the . 
manner of their kind they struggle for food, plun- 
ging their noses into the trough, and crowding one 
another with vigorous action. The group is in strong 
sunlight and relieved against an irregular tone of 
warm gray. 


Signed at the lower left, Cu. Jacque. 
Height, 834 inches; length, 12% inches. 


No. 18 


JEHAN GEORGES VIBERT 
FRENCH 


1840— qe: Vr back 


THE CARDINAL - 


A CARDINAL in full red fobes and hat is about to de- . 
scend from the lower step of an entrance to a church, 4 
when he discovers in front of him a pool of water 
on the ground, and holds aside his vestments, peer- 
ing at the obstruction with some anxiety. On the 
right of the figure are a brick pier, and a bulletin 
board fastened to a pole, and in the distance is the 
facade of the ecclesiastical edifice, with a suggestion 
of a churchyard on the left. 


Signed at the lower right, J. G. ViBERT. 
Height, 6 inches; length, 9 inches. 


; o § 
; * tt 


JOHN CONSTABLE, R.A. 
ENGLISH 


1776—1837 Na i | 
{ oA 6 4 4 


ON THE BANKS OF THE STOWE 


Tuis is a study of a fisherman’s cottage on the banks 
of the river, with a glimpse of the distant landscape 
beyond. In the foreground is a group of wooden 
buildings with tiled roofs and gables standing on a 
rough bank, which slopes down to the river. On the 
left, in the immediate foreground, are three boats 
drawn up on the shore with various figures of men at 
work on them. The sky is completely covered with a 
stratum of luminous gray clouds. 


Height, 744 inches; length, 1234 inches. 


No. 20 


ay JOHN CONSTABLE, R.A. 
: ENGLISH | 


1776—188% 


A GYPSY. CAMP’. 77005 : a 
A ROUGH country road winds from the middle fore- 
ground to the extreme distance, bordered by large 
masses of trees on either side. In the left foreground 
under overhanging branches is a gypsy camp with 
three figures gathered around a fire, and nearby a 
rude shelter shaped like the tilt of a cart. In the mid- 
dle distance on the right is a large cottage half hid- 
den by the surrounding trees. The foreground is in 
shadow and the roadway and trees beyond are here 
and there touched by strong gleams of sunlight from 
the right. The lower part of the sky is completely 
covered with clouds, and the light on the vapor 
masses is concentrated near the upper right of the 
picture. 


——S — aN ae 
et 


Height, 9% inches; width, 7% inches. 


No. 21 


NARCISSE VIRGILE DIAZ DE LA PENA 
FRENCH 


1809—1876 5 4 yt 


L’AMOUR VaInquEuRL¢é- EG Py 
Four maidens, two of them holding between them 

the figure of a mysterious Cupid, forny the group in 

the right foreground, and above these figures on the 

left are three cupidons floating in the air. Seen 

against the sky and distant landscape, a strong ef- 

fect of light accentuates the flesh and the draperies, 

and gives a strong note of color to a bunch of flow- 

ers thrown on the foreground near the group. 


Height, 1214, inches; width, 94% inches. 


No. 22 


RAIMUNDO DE MADRAZO 
SPANISH | j 


Sear— ; 
Kheg-d Bi 
te 
THE BROKEN PITCHER fs 


SEATED at the foot of a great tree trunk near a forest 
path, a young maiden in short-sleeved chemise, silken q 
bodice and petticoat and satin slippers, is gazing dis- : 
consolately at a broken pitcher, the pieces of which 

are scattered on the grass near her. To the right of 

the figure is an immense boulder relieved against a 

distant clump of forest trees, which almost cover the 

sky. | 


Signed at the lower right, R. Maprazo. 
Height, 114% inches; width, 634 inches. 


No. 28 i > 


JOHN ARTHUR LOMAX 
ENGLISH 


Contemporary 


RECRUITS WANTED 


A YOUNG man in Directoire costume is seated near a 
table, pipe in hand, holding extended a newspaper 
which he is reading with interest. On the table, which 
is partly covered by a fringed napkin, stands an 
earthen jug and half-empty glass, and in the back- 
ground is a broad fireplace, the shelf of which is 
hung with pewter tankards and ornamented with 
plates of the same material. 


Signed at the lower left, Joan A. Lomax. 
Height, 11%, inches; width, 9% inches. 


4 { NURS) NY " 4 on 4 \ } 
KA A) + y aN i Au \ i 5 
44 a ALP MN a Mi {s Ay ey i y ray nM 
Ceut Hai a ana \N A 5 
3 Shue st Aa PUNE 


No. 24 


F. ANDREOTTI 


ITALIAN 


— ae Yn, a i, mo 
A CAVALIE : oe 


A ROYSTERING cavalier, tankard in hand and pipe in 
mouth, sits on a raised wooden bench, with one leg 
extended and the other curled under him. He wears 
a gray felt hat, a buckskin coat over a red jacket, — 
brilliant red breeches and large jack boots. 


Signed at the lower right, F. ANDREOTTI. 


Height, 121, inches; width, 9 inches. 


No. 25 


EDOUARD FRERE 
FRENCH 


1819—1886 


LOOKING IN THE WELY/ 


A SMALL boy, with the curiosity of his kind, is lean- 
ing over the rough coping of a well in the corner of 
a courtyard, apparently eager to discover the secrets 
of the gloom far down below. The empty wooden 
bucket, with its rusty iron hoops and bole, stands at 
the foot of the coping, and the boy’s straw hat lies on 
the ground nearby. In the background is a wooden 
shutter with diamond-shaped perforations. The little 
scene is in full sunlight, with strong contrasts of 
light and shade. 


Signed at the lower right, Ep. Frere, 52. 
Height, 12% inches; width, 9% inches, 


No. 26 


EK. P. BERNE-BELLECOUR 
FRENCH 


ag (Pie / kay fia 
THE WOUNDED SOLDIER 


A WOUNDED French officer, carrying his sword in his 
left hand, supporting himself on a stick, his head 
bound with a bandage, has hobbled to the scene of 
his recent adventure, and stands thoughtfully con- 
templating an embrasure which has been hastily cut 
in a brick garden wall. He wears a red and blue 
kepi, a double-breasted blue greatcoat and full red 
trousers. : 


Signed at the lower right, EK. Berne-BELLEcovur. 
Height, 13% inches; width, 9 inches. 


No. 27 


EDOUARD T’SCHAGGENY 


Contemporary y 
SHEEP 4 e 


A SHEPHERD dressed in long gray cloak and 
felt hat stands leaning on his long-handled ctook, 
surrounded by his resting flock, scattered along near 
a winding pathway which leads over a wild pasture. 
The sun is high in the heavens, and some of the sheep 
are taking refuge from its direct rays under the shel- 
ter of a bunch of scraggy bushes, which forms the 
prominent object in the middle of the composition. 
In the front a row of hills, on which sheep are feed- 
ing, rises against the sky, and on the left a broad 
plain extends to the remote horizon. 


Signed at the lower left, Epovarp 'T’ScHaccENy. 
Height, 11 inches; length, 14 inches. 


d ¥ 
ee ye 


f | | No. 28 


’ WILLIAM HELMSLEY 
: ENGLISH 


ORG 


REJECTED ADDRESSES 


A youne country farmer, in long leather gaiters and 
brown velveteen coat, is seated in a kitchen near a 
table, evidently saying soft words to a smiling 
young housekeeper who is busy rolling a pat of 
dough. Nearby the farmer’s dog gazes earnestly at 
his master, and on the left of the little group is the 
usual cottage fireplace, with a coal-fire burning in the 
grate, and a chimney opening draped with a narrow 
curtain of patchwork. 


Signed at the lower left, HetMsiey. 
Height, 12% inches; length, 14% inches. 


eg 


i 


No. 29 


CHARLES F. ULRICH, A.N.A. 
AMERICAN 

1858— {) . : 
FINISHING TOUCHES 


A youne Venetian beauty is having her toilet per- 
formed by a friend who, having just rouged her 
cheek or lips, is leaning over to see the effect of her 
art. Beyond the figures is a low dressing table with a 
small swinging glass reflecting part of the head and | 
shoulders of the Italian beauty. 


Signed at the upper left, C. F. Uiricn. 
Height, 141% inches; width, 10% inches. 


No. 30 


JEAN LEON GEROME 
FRENCH 


| coe Y 
ITALIAN cme anne 


STANDING in a deserted street of an Italian town 
near a shrine in the tall facade of a stuccoed build- 
ing are three musicians from the Campagna, two 
men and a small boy. They are dressed in the char- 
acteristic costume of their class, with long cloaks, 
tight breeches, ankles swathed with cloths and straps, 
and raw-hide sandals on their feet. Their ribbon- 
bedecked hats hang on their right arms. One of the 
men and the small boy play pipes, and the other mu- 
sician blows a huge bagpipe, with long wooden, bell- 
mouthed drones. The background is a row of stone 
and stucco buildings, making an irregular skyline 
against the cloudless area of soft and distant sky. 


Signed at the lower right, J. L. Gérome, 1859. 
Height, 143, inches; width, 11 inches. 


; 
| 
ie 
; 


Se ee ae 


No. 31 Hh ae _ v 
A, a 
EDOUARD FRERE , 
FRENCH 


5 


} 


1819—1886 eA mye 


| V 
THE LITTLE WASHERWOMAN 


A youne girl of a dozen summers is engaged in 
hanging newly washed garments on a line strung 
across the corner of a simple room. In the fore- 
ground on the left is a basket filled with colored gar- 
ments, and beyond the girl in the background on the 
right is a porcelain stove. The interior is lighted from 
a window on the left. 


Signed at the lower left, E. FRERgE. 
Height, 13 inches; width, 91 inches. 


4 No. 82 


ADOLPHE ARTZ 
DUTCH 


foc errant 
THE FIRST PAIR pect 


A youncG mother is seated Gene a simple table in 
a modest Dutch interior, watching her small child, 
who, seated on the floor, is struggling to put on his 
first pair of socks. The mother wears a red kerchief 
around her head, a long-sleeved white chemise, gray 
bodice and black petticoat. In the background is seen 
an alcove bed with green hangings. 


Signed at the lower right, Arrz. 
Height, 12% inches; length, 15%, inches. 


ry 
bl 


No. 33 ‘L f? i ) 6 


JAMES WARD, R.A. 
ENGLISH 
1769—1859 


A MALE and a female lion are reposing in a nook in 
the forest under the overhanging and weather-worn 
trunk of a large tree. The king of beasts himself is 
fast asleep with his head on his paws, while his mate 
is alertly watching by his side. A strong light from 
the upper left falls upon the animals, bringing the 
lioness’s head in relief against a mysterious back- 
ground of a ledge of overhanging rock. 


Height, 13 inches; length, 1614 inches. 


No. 34 


PHILIPPE J. DE LOUTHERBOURG, R.A. 
FRENCH 


oy! ee on pee 


AT THE a 


A crouP of cattle and sheep is assembled on a low 
sandy point on the edge of a stream, apparently a — 
favorite watering place for the animals. A gayly at- 
tired shepherdess, with her attendant swain, stands 
nearby, more absorbed in her own affairs than in the 
care of the animals. Beyond, on the right and left, 
lofty trees rise against the sky, and in the extreme 
distance a mountain range forms the horizon. 


Signed at the lower left, P. J. LournHersovure, 1766. 
Height, 13% inches; length, 17 inches. 


No. 35 


GEORGE H. BOUGHTON, R.A. 
AMERICAN 


1834—1905 


THE YOUNG WIDOW vv 
In the foreground is a stone parapet of an extensive 
terrace overlooking a wide extent of seacoast. In the 
corner of the parapet, with both arms resting on the 
- coping, sits a black-robed lady, holding in her ex- 
tended right hand a rose, and resting her cheek upon 
her left palm. The head and shoulders are in relief 
against the blue water beyond. In the middle dis- 
tance, on the left, a clump of trees crowning the slope 
of a grassy hill extends out of the picture, and a 
narrow strip of sky beyond the rugged coast line is 
covered with ranks of rolling clouds. 


Signed at the lower right, G. H. Boveuton. 
Height, 12% inches; length, 20% inches. 


ee eee 


No. 86 


JACOB MARIS 
My mae ! DUTCH 


e 1837—1899 


YY (ha 8, 
PLOUGHING \ (0 Dye A 
In the foreground is a aden i partly prepared 
for planting, and a Dutch “peasant holding the 
handles of a rude plough drawn by a black and a 
white horse. Beyond is seen a broad, broken land- 
scape, with here and there green fields and clumps 
of trees extending to an irregular horizon, where the 
light of late afternoon is concentrated below a mass 
of rolling vapor, suggesting frequent showers and 
gusts of wind. 


Signed at the lower right, J. Maris. 
Height, 11 inches; length, 23 inches. 


No. 37 


COLIN HUNTER, R.A. 
SCOTCH 


1842— a 
Cs ¢ OPRONAAEIN 
THE PASSING STORM 


A. BROAD expanse of tossing sea stretches across the 
picture, and breaks in the foreground in a succes- 
sion of rollers upon a shallow beach. Low, drifting 
clouds partly fill the horizon on the right, and the 
sunlit sky on the left suggests a rapid passing of 
the storm. Screaming seagulls hover about the break- 
ing water, and in the foreground is a narrow strip of 
beach, with seaweed and wreckage. 


Signed at the lower right, Corn Hunter. 
Height, 12% inches; length, 23% inches. 


No. 38 


FELIX SATURNIN BRISSOT 
FRENCH 


a ji oO 7 y 
SHEEP (5-7 -% 

In the foreground a shepherd is herdingVhis flock 
of sheep into a rude barn on their return from pas- 
ture, holding open a gate which has closed the lower 
part of the opening. Beyond the group, across a 
yard, is a dilapidated hovel, a stone wall with a rough 
gate, and distant trees which break the horizon under 
a cloudy but luminous sky. In the foreground on the 
left three fowl are searching for food among the 
straw. 


Signed at the lower left, F. Brissor. 
Height, 13 inches; length, 17% inches. 


No. 39 


FRANCIS WILLIAM TOPHAM, R.A. 
ENGLISH 


1808—1877 


THE WINE SHOP LQ ¢. 6. Tra ue 


GATHERED around a table in K popular wine shop, 
presumably in a remote part of Spain, are several 
figures of men and women in characteristic costumes. 
The principal figure in the foreground, a youth who 
wears a blue waistcoat, white shirt, red sash, brown 
breeches and canvas gaiters, holds with his left hand 
at some distance above his head a wine flask, from 
which he skilfully directs a thin stream of the fluid 
into his mouth. On the right of the group, which is 
strongly lighted from the left side, is a vista under- 
neath an archway down a street of the town. 


Signed at the lower left, F. W. T. 
Height, 1814, inches; length, 24 inches. 


No. 40 


A. BIRELLI 
ITALIAN 


Ons 
Ye EL 
AN Ric. AUDIENCE 


THREE priests and amonk have been dining together, 
and over their tea at the close of the repast are ex- 
changing humorous tales of their experiences. The 
party, with the exception of one, who holds up his 
hands in astonishment, and the servant maid, who 
is making her exit from the room, are laughing 
heartily at the story told with great animation by a 
jolly middle-aged father sitting at the farther side 
of the table. 


Signed at the lower right, A. BirE.1t. 
Height, 13 inches; length, 20 inches. 


No. 41 


FRENCH 


1819—1886 AKG CBabcht 


MOTHER AND CHILD 


A SIMPLE peasant interior, in which a young mother 
is busy with her needle, attending at the same time 
a small child, whom she has caged in a chair from 
which the rush bottom has been broken through long 
use. Nearby is a cradle, and on the walls hang a pic- 
ture or two, and various small objects of domestic 
use. The little scene is lighted by a window at the 
right, from which comes a flood of soft, diffused 
light. 


EDOUARD FRERE | 


Signed at the lower left, Epovarp Frere, 1881. 
Height, 1734 inches; width, 144% inches. 


Morietra Collection, London, 1893. 


No. 42 


R. M. CHEVALLIER 
FRENCH 


Cont or 


STREET IN CAIRO 


THIs is a view in one of the narrow stfeets of the 
Egyptian city. The foreground is all in shadow, 
and many merchants and loungers gather at the shop 
fronts on either side. In the middle distance a flood 
of sunlight illuminates the streets and the facades of 
the houses, throwing a broad patch of light on the 
pavement and on a group of natives in brilliant-col- 
ored garments. 


Signed at the lower right, R. M. CHEVALLIER. 
Height, 18 inches; width, 12 inches. 


No. AS ” my 
rl fr :  . 
a ; 


LEO HERRMANN 
FRENCH 


Contemporary 


‘agg ace Pn 
SUZETTE’S SLIPPER 


Tus is a litle eighteenth-century comedy in a French 
village. A sturdy cobbler is measuring the foot of a 
comely damsel in a street in front of his shop. Kneel- 
ing on one knee and holding the measuring rod under 
the young woman’s foot, which is supported on his 
other knee, he is apparently more interested in the 
conversation of his fair patron than in the work he 
has in hand, and they are neither of them in any hurry 
to finish the measuring. On the right of the group 
the street turns round the corner of a low building, 
and a sedan chair with two porters is seen proceed- 
ing along the pavement. 


Signed at the lower right, Lio Herrmann. 
~ es 17 a hee width, 1414 inches. 
2 

hoe gS, te! Re eRe, ih 4° 


c 


ake Ns 
4 No. 44 
a MLLE. ROSA BONHEUR 
FRENCH r 


1822—1899 


THE ONC Yi Hoe Y, (2: A 


Tuis is a study of a full-grown lion with long, wavy 
mane and massive head. With is fore paws firmly - 
planted on a flat rock, he stands erect, looking di- 
rectly at the spectator. Behind him are forest trees 
covering a mountain slope, and showing here and 
there through the dense foliage glimpses of the blue 
sky. ‘The tawny-colored animal, lighted by a strong 
flood of sunlight from the upper right, is in vivid 
contrast against the green beyond. 


Signed at the lower left, Rosa BonweEvr, 1888. 
Height, 16 inches; width, 1234 inches. 


, 
No. 45 g le | 


WILLIAM COLLINS, R.A. 
ENGLISH 


1788—1847 


AT THE FERRY 


In the right foreground a woman, holding a baby in 
her arms, is seated on a low bank near the riverside, 
waiting the arrival of a ferryboat, which is seen on 
the opposite bank. Near her a countryman waves his 
hat as a signal to the ferryman. Across the quiet river 
is a large thatched building, partly in the shadow of 
a huge tree, which arises with rounded masses of 
dense foliage against a soft summer sky. On the 
right the road from the ferry leads into a pleasant 
farming country, with here and there a clump of 
trees, and a line of low hills in the distance. 


Signed at the lower left, W. Corttns, 1819. 
Height, 14% inches; width, 13 inches. 


No. 46 


EDOUARD FRERE 
FRENCH 


1819—1886  // oA 
A A Moe 


MOTHER AND CHILDREN 


In the foreground is seated a peasant woman, hold- 
ing a half-dressed child on her lap, while a little girl 
reaches on tiptoe to embrace her little brother. The 
mother is dressed in a deep blue gown with white 
apron and chemise, and wears over her head a dull 
red kerchief. The interior is plainly but comfortably 
furnished. A large wooden dresser with high glass 
doors stands against the wall behind the group and 
an unframed picture hangs against the wall over an 
empty cradle. | 


Signed at the lower left, Epovarp Frire, 64. 
Height, 1614 inches; width, 13 inches. 


Muvrietta Collection, London, 1893. 


' ¥ 
Oe tgs, 
ue 


Sea 


No. 47 


JEAN BAPTISTE CAMILLE COROT 


FRENCH ; vr Gh 
Are - - 


1796—1874 
LANDSCAPE 


THE motive for this picture has been found in a hilly 
region in France. On the right, a great mass of bold 
ledges of rock rises high against the sky, casting 
into shadow a sedgy pool and a roadway on which is 
seen a farmer with a pair of horses. In the middle 
distance, bordering this roadway, is a line of slender, 
irregular trees, which are in shadow, contrasting in 
part against a sunlit hillside beyond, and particularly 
against a sky which is covered with thin clouds. 


Signed at the lower right, Corot. 
Height, 174% inches; width, 14% inches. 


No. 48 


ANTON MAUVE 
DUTCH 


NAS Wa ow ( Ae! A\1838—1 ae 
CATTLE | (Aw 


THREE cows, white, red and black, respectively, and 
two sheep are resting near a gateway in a broad, 
open Dutch pasture. The white cow is lying down, 
her companions standing up, evidently waiting for 
the gate to be opened. Nearby, seated on the ground, 
is the cowherd, and seen beyond the level extent of 
the pasture is a sunlit farm-house and other build- 
ings in the horizon. The sky is nearly covered by low, 
drifting cumuli, threatening summer showers. 


Signed at the lower right, A. Mavve. 
Height, 1434, inches; length, 24 inches. 


No. 49 


EMILE VAN MARCKE 
FRENCH 


1827—1891 


MILKING TIME ae b Aka 


THE motive for this picture is found in a seaside 
farm in the Netherlands. In the foreground a peas- 
ant woman in wine-colored jacket and blue petticoat, 
her head draped in a white kerchief, is milking a 
shaggy white cow. A young calf stands near, a sec- 
ond cow lies on the ground a little farther off, and 
other cows and sheep are scattered over the field. Be- 
yond the group, which is in a strong effect of light 
and shadow from the sun, evidently low in the heav- 
ens, is the rough-thatched roof and stone gables of a 
large farm-house, half hidden by the grassy bank 
and clumps of trees. On the right is an expanse of 
water, with sails here and there in the horizon. The 
sky is filled with gently drifting cloud forms. 


Signed at the lower right, Em. Vaw Marcxe. 
Height, 18 inches; length, 25 inches. 


Wiuttem Harroc Collection, Amsterdam, 1894. 


| 
| 


No. 50 


B. P. OMMEGANCK 
DUTCH 


ie 
LA 
FARM LIFE 


A. FARMER has driven his meee and a cow to drink in 
a broad pool or river at the foot of a gentle slope 
under a high, overhanging cliff. He carries in his 
arms a young lamb and is followed by a sheep dog. 
On the right is a towering cliff, which extends out of 
the picture. On the left the sky is partly covered by 
luminous clouds, which send a warm haze over me 
range of low hills in the distant horizon. 


Signed at the lower left, B. P. Ommecancx, 1802. 
Height, 14% inches; length, 19 inches. 


No. 51 


GEORGE MORLAND 
ENGLISH 


1763-18 et Oi cl iy 
ON ye h 
THE GAMEKEEPER’S eas i 


SEATED on a boulder at the foot of an ancient, 
gnarled oak tree, is a jolly gamekeeper in a blue coat 
and stock, drab breeches, red waistcoat and soft felt 
hat with feathers in the band. He holds a crust of 
bread and a knife in his hands, and a farmer in long 
gray coat and heavy boots stands near, leaning on his 
stick. In the foreground two dogs earnestly watch 
the gamekeeper’s actions. On the right of the little 
group is a rippling stream with a rough rail fence, 
and in the distance a low line of straggling trees 
against a stratum of gray clouds which nearly cover 
the sky. 


Height, 15% inches; width, 134% inches. 


No. 52 


GEORGE MORLAND 
ENGLISH 


1763—1 Sie View thom 


AT THE ALE- HOUSE DOOR 


AN English farm laborer in coarse fustian garments 
is seated on-a bench at the door of a small thatched 
cottage, leaning on a rough table, holding in his left 
hand a foaming glass of ale, and in his right hand a 
churchwarden pipe. Leaning on the table by his side 
is a youth in similar costume, who is earnestly con- 
versing with the older man. On the left, beyond the 
figures, is a view of a pleasant country with lofty 
trees on the edge of a hillside overhanging a pool of 
water. 


Height, 154 inches; width, 13142 inches. 


No. 53 


ee 
P. JOANOWITCH wy 
POLISH | nd 
Contemporary 


ALBANIAN CHIEF ft. 0 Baborek 


A FIERCE-LOOKING Albanian mountaineer, with pis- 
tols and yataghan in his girdle, and an incrusted 
-flintlock held between his knees, is seated in a café, 
taking his ease and smoking a narghileh. He wears a 
scarf twisted turbanwise around his head, and a rich 
red jacket with an embroidered waistcoat over it, 
a fustanella and ornamented gaiters, and pointed 
shoes. Various accoutrements hang upon the bench 
on which he is seated, and behind is the glimmer of a 
small fire, where his coffee is being prepared. 


Signed at the lower right, P. Joanowircu. 


Height, 16 inches; width, 12% inches. 


No. 54 


F. SCHLESINGER 
GERMAN 


ROASTING APPLES 


A LITTLE country girl, having brought into the 
kitchen an apron full of apples, is leaning over the 
fire platform to roast the fruit in the embers, while 
her grandmother, seated near, warns her of the dan- 
ger of coming too near the red-hot coals. The cos- 
tumes of the child and the old lady, and the fire 
platform with various kitchen utensils, are charac- 
teristic of German peasant life. 


Signed at the lower left, F. Scu.esinceEr. 
Height, 16 inches; length, 20 inches. 


No. 55 


DAVID COX 
ENGLISH 


sarod Me 7 i 


CROSSING THE COMMON 


A BROAD and well-worn path winds across a rough 
and wind-swept plain and runs out of the fore- 
ground, where two peasant women are seen closely 
following a donkey bearing two well-laden panniers. 
A great mass of storm clouds sweeps across the sky, 
and a flood of diffused sunlight illuminates the land- 
scape, and is concentrated in the sky at the horizon 
on the right. 


Height, 16% inches; length, 21% inches. 


No. 56 


FELIX ZIEM 


FRENCH 
a) /) 
' {A821— ‘ YY | 
| A, VV © hr: 
VENETIAN WATER-FRONT / 


A BROAD, stone-paved quay, extending across the 
whole foreground, is bordered on the left side by a 
row of low facades, and in the middle distance rises 
and crosses a canal by a stone bridge with heavy para- 
pet. On the right is a broad expanse of placid water 
with a gondola and various sailing craft gleaming 
in the sun, which falls warmly from near the zenith, 
throwing the house fronts and the quay itself into a 
broad, luminous shadow. Scattered along the pave-_ 
ment are various groups of figures, chiefly market 
women with their wares spread out around them. 


Signed at the lower left, Ziem. 
Height, 161% inches; length, 234, inches. 


No. 57 


B. W. LEADER, R.A. 


ae 


ENGLISH _ 


1831— 


NEAR ABINGER, SURREY, ENGLAND 


On the right foreground a path leads along a rip- 
pling stream, which it crosses by a rustic bridge and 
branches farther on to the right through a gate- 
way under overhanging trees. Children play in the 
shadow in the right foreground, and in the middle 
distance, where the winding stream reflects the sum- 
mer sky, is seen a great clump of trees which forms 
an important object of the composition. Beyond are 
the red-roofed houses of a small village. Luminous 
cumuli and cirrus clouds partly cover the sky. 


Signed at the lower left, B. W. Lxeaprr, 1893. 
Height, 154% inches; length, 234% inches. 


No. 58 


ae FREDERICK A. BRIDGMAN, N.A. 


AMERICAN 


va citi 


SUNSET C) mts 


A. stupy of sunset ee the seacoast with a long line 
of low breakers rolling up on a flat, sandy beach, 
and beyond an expanse of water stretching away to 
a mysterious distance. The sky is filled with broken 
masses of clouds brilliantly illuminated by the sun- 
set, which, concentrated near the middle of the pic- 
ture in a mass of ruddy light, is reflected on the sur- 
face of the water, and glistens on the smooth sand. 


Signed at the lower left, F. A. Braman, Opus CCCLXXII. 
Height, 1734 inches; length, 24% inches. 


ih} 
A 
it 
i 
+4 
‘a 
ee 


F pe cg i eT. me iP af 
ee et Re ee 


No. 59 


J. PHILIP, R.A. 
ENGLISH Sut 


PENNY PEEP-SHOW 


A SCENE in a populous English village. An old man 
has paused with his penny peep-show in front of a 
roadside cottage overhung with trees, and _ has 
opened his show for the benefit of the youngsters 
who eagerly gather near. On the left are various 
figures of country folk, among them a woman who 
stands on the raised entrance to the cottage holding 
an infant before her while she watches the little 
comedy below. The roadway winds around to the 
right, and then disappears near a church in the re- 
mote distance. 


Signed at the lower left, P., 1885. 
Height, 18 inches; length, 2314 inches. 


No. 60 


C. STANFIELD, R.A. 
ENGLISH 


ee Qi. ; 
ON THE COAST, BRETAGNE Mion 


THIs is a busy scene on a populous part of the sea- 
coast, where a narrow inlet flows into a bay which is 
bounded in the distance by lofty cliffs. Near the 
foreground a fishing vessel is stranded close to the 
bank, and the central object of the composition, 
crowning a sandy bank on the right, is the round 
tower of a stately edifice, with a thatched hovel built 
against its side. Farther away on the left are various 
sailing craft, and everywhere in the landscape are 
busy fisher folk and peasants. 


Signed at the lower left, C. Stanrietp, R.A., 1854. 
Height, 1642 inches; length, 27% inches. 


No. 61 on, 9.0% 


FREDERICK A. BRIDGMAN, N.A. 
AMERICAN 


1847— ( — ® 
NOONDAY REST 


In the foreground stands a rough stone hovel, 
thatched with straw, under a gnarled oak tree. Three 
farm horses have taken shelter there on a winter’s 
day. A slight fall of snow has partly covered the 
thatch, and has gathered here and there on the 
branches of the trees and on the ground. To the left 
of the hovel is a vista along a road between ever- 
greens and other trees. 


Signed at the lower left, F. A. Bricman. 
Height, 1814, inches; length, 25 inches. 


No. 62 


FRENCH 
1823—1881 


MIGNON 


Tuts is a life-size, half-length figure of a young girl 
musician, who holds a violin in both her hands, idly 
resting the bow upon the strings. The figure is in 


_ three-quarters view, and the head almost in full face, 


slightly inclined upon the left shoulder, the eyes 
looking straight out of the picture. She wears a white 
chemise and low embroidered bodice, with a red 
shawl with fringe draped upon both shoulders, and 
a kerchief on her head. The background is a broken 
tone of dull gray. 


Signed at the lower right, Hucurs Merte, 1879. 
Height, 3114 inches; width, 25%, inches. 


No. 63 


ANTOINE VOLLON 


FRENCH , i 
sirig aitiaciu, Ae) ae : aioe 
LANDSCAPE L ff 


A croup of farm buildings, partly thatched, partly 
covered with red tiles, is the principal feature in the 
composition, extending nearly across the picture. 
A wagon road winds around to the right past the 
figures of two peasant women, who are resting on — 
the turf. In the foreground on the left is a shallow 
pool, in which ducks are swimming, and beyond, in 
the middle distance, is a narrow village street. The 
sky is partly covered by clouds, and a strong gleam 
of sunlight strikes the group of buildings. 


Signed at the lower right, A. Vouton, *77. 
Height, 19 inches; length, 2334, inches. 


No. 64 


HENRY MOSLER, N.A. 
AMERICAN 


Jubii Tebanans ty 


A FARM COTTAGE 


Tuis is a characteristic bit of English rural scenery, 
witha thatched cottage as the prominent object in the 
composition. The cottage stands on the edge of a 
pool, and is partly surrounded by bushes, beyond 
which, on the right, is seen a harvest field covered 
with shocks of grain. The sunlight falls strongly on 
the landscape from the upper right, and ranks of 
rolling clouds drift slowly across the sky. 


Signed at the lower left, Henry Mostmr, 94. 
Height, 19 inches; length, 23%, inches. 


No. 65 


EMILE LAMBINET 
FRENCH 


ON THE CLIFE | 


A roueH beach extends across the foreground, and, 
disappearing in the middle distance under a low cliff 
which is crowned by a half-ruined cottage, appears 
again in the distance at the foot of two bluffs which 
form the horizon beyond a small expanse of rough 
water. A single figure of a peasant woman struggles 
up the beach, dragging along some jetsam from the 
seashore, and behind her a winding path leads up to 
the cottage. The light in the sky is concentrated on 
a large mass of cumuli near the horizon, bringing the 
hillside and the cottage into a strong relief. 


A Ceveaeet] 


Signed at the lower left, Rum LaMBINeET, 1867. 
Height, 18 inches; length, 28% inches. 


No. 66 


J. H. L. DE HAAS 
BELGIAN 


aes 


CATTLE ee Tf & 


In the foreground a ee in white cap dnd 
chemise, blue bodice and gray apron over her black 
petticoat, stands leaning on a fence, watching a red 
and a white cow feeding in the pasture close at hand. 
The sunlight falls from the upper left, and the short 
shadows mark the time as near midday. 


Signed at the lower left, J. H. L. De Haas. 
Height, 19 inches; length, 28 inches. 


No. 67 


FREDERICK ‘A. BRIDGMAN, N.A. v4 ” 
aid aed 1h 
ne AMERICAN #,* A 
se  1847— . 


— 
ON THE NILE _/ PS L. er 


A BROAD expanse of the wide river sweeps down 
from the horizon on the left to the right foreground. 
On the farther side rises against the simple, almost 
cloudless sky, an irregular line of arid hills broken 
by cliffs and sandbanks, and along the shore are 
scattered palm trees, here and there growing in the 
sandy waste. In the immediate foreground a number 
of natives of various colors and in a variety of cos- 
tumes are tugging at a tow rope attached to a daha- 
beah, which is steering close to the shallow bank a 
short distance behind them. 


Signed at the lower left, Nie, 1874, F. A. B. 
Height, 18 inches; length, 29 inches. 


ee ne Pe ee. ees 


No. 68 


FERDINAND. ROYBET 
FRENCH 


THE TRUMPETER 


A FULL-LENGTH figure of a young man dressed in a 
multi-colored costume of the early seventeenth-cen- 
tury period, seated astride a rough wooden bench, 
pipe in hand. He wears a broad gray hat with a pink 
ostrich feather, a fringe-trimmed jerkin over a 
doublet of pale-green velvet, broad soft silk sash 
and garters of the same material. Near him on a sec- 
ond bench stand a large glass beaker and a brass dish. 
In the foreground, thrown carelessly on the floor, are 
a helmet and an embroidered garment, a trumpet and 
a matchlock gun with inlaid stock. 


Signed at the lower right, F. Royset, 
Height, 21 inches; width 17% inches. 


No. 69 Ra 5 


M..G. WYWIORSKI ae 
POLISH 


_ Contemporary @ re, 
A WINTER SCENE IN POLAND 


In the foreground is a rude sledge drawn by a single 
horse and occupied by a driver in a big fur cap and 
coarse garments, who is apparently on his way to 
hunt, since three sporting dogs, leashed together, are 
standing in the snow nearby. Beyond the sledge is a 
broad expanse of snow-covered level country, broken 
here and there by isolated groups of trees, which 
reaches away to the distance, where the low level line 
of a large forest forms the horizon under a lofty sky 
completely covered by gray clouds. 


Signed at the lower right, M. G. Wywiorskt. 
Height, 20% inches; width, 11% inches. 


b 
eH 0 
oa Up, 
ha oe 
wm ae 
‘ 
© 


vA No. 70 


ERSKINE NICOL, A.R.A. 
SCOTCH 


See aires A VIRTUE 


In the foreground, leaning against the newel post of 
a short stairway which leads into a sunlit room be- 
yond, is a tenant farmer with rough gray frieze 
coat, blue waistcoat and brown trousers, holding his 
hat in his hand, with head partly bowed in an attitude 
of stolid patience and slightly on one side, as if he 
were drowsy from the long wait. In a little room at 
the head of the stair is seen an old gentleman in a 
dull red gown, engaged in reading a letter, which ex- 
plains the object of the farmer’s visit. 


Signed at the lower left, -Nicot, A.R.A., 1869. 
- Height, 231% inches; width, 173, inches. 


No. 71 


FELIX ZIEM 
FRENCH f 


ce * 1821— Raed ky 


yi } py 
THE LEANING TOWER” & ° - 
OF SAN PIETR 


A PROMINENT object in this picture is the white 
tower on the left, decidedly out of the perpendicular. 
It stands on the water front along which are moored 
a multitude of sailing craft. On the opposite bank of 
the canal, which extends from the foreground di- 
rectly to the horizon in the middle of the picture, is 
an irregular mass of buildings, the dominant object 
among which is a great square tower covered with 
irregular, broken red stucco. In the foreground is a 
long sandalo with a single oarsman, a load of mer- 
chandise and two women. 


Signed at the lower left, Zim. 
Height, 203, inches; length, 28 inches. 


aks 72 


aS JEAN BAPTISTE CAMILLE COROT | 
* ‘FRENCH ; 

: : FY ial 

| THE eee \ 

| On the right is a row of large willow trees extending 
into the perspective, completely hiding the sky and 
rising out of the top of the picture. On the left, ex- 


tending from the foreground diagonally to the re- 
mote distance, is a broad placid river reflecting the 
| soft tones of the sky. In the middle distance is a __ 
grassy slope with various buildings, and, farther | 
Bc away, arange of hills forms the horizon. Among the _ 
reeds and rushes in the shallow water near the bank _ 
in the foreground is a skiff with two figures, one > of 
them erect and pushing an oar. 


Signed at the lower right, 1874 Coror. 
Height, 19 inches; length, 284, inches. 


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MANGA) ee 130 1Q39 Mors Rey eee bUW S 


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PG. ahebhogs- p32 Rego 4 Yovo bh Yerichi. 
PB. io(silises Oe as Rey . ; : . 


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No. 78 


JOSEF Be 
oe 


«© shuren ua 
Hy aa ei 4h Sa is 
> 1824— 


“gaat 


Mh pile H Dp a 
THE WIDOWER am we On eee [ 


AN old Dutch fisherman, who is apparently bereaved 
of his lifelong companion, is seated on a low stool in 
his humble cottage mending one of his nets. In front 
of him sits a shaggy black and white dog, stolidly 
watching his master’s movements. In the _ back- 


ground is a tiled fireplace with projecting hood, 


draped underneath the wooden shelf with a strip of 
blue material, and over it hang fishes drying on a 
string. The interior is lighted by a shaft of light 
from a small window high up on the right, bringing 
the fisherman’s head into vigorous relief against the 
fireplace and strongly accentuating the various sur- 
rounding objects. 


Signed at the lower left, Joser Israezs, 1861. 
Height, 20% inches; length, 2534, inches. 


re oT. Ts ee ls ar ge rll ee Be 


No. 74 


CHARLES EMILE JACQUE 
FRENCH 


1813—1894 


: be : : 
EVENTIDE Y. ae (Cen eee 


A croup of farm buildings, partly hidden by willow 
trees, and dominated by a tall slender ‘tree, which 
rises out of the picture at the top, is the chief feature 
of the composition. In the foreground on the left is a 
pool in which ducks are swimming, and on the right 
a muddy road winds away across the plain, beyond 
which in the distance is a sunlit corn-field. 'The sky is 
completely covered by masses of luminous vapor. 


Signed at the lower left, Cu. Jacque, /%0. 
Height, 2444 inches; width, 20%, inches. 


No. 75 


EDOUARD FRERE 
FRENCH 


mom OP atic: 


THE CHILDREN’S GA TERING 


A NUMBER of small children, none of them more 
than five or six years old, are gathered together in a 
humble interior, some engaged in playing, others in 
eating fruit and sweets, and one standing near a 
table, where an old woman holding a small child on 
her lap is evidently trying to teach the little pupil 
his letters. The scene is illuminated from a strong 
light through a broad window on the right, and the 
background is a plain gray wall, on which hang a 
bird-cage, several pictures and the many-colored 
garments of the children. 


Signed at the lower left, Epovarp Frire, 1860. 
Height, 20%, inches; length, 25 inches. 


No. 76 


GEORGES MICHEL 
FRENCH 


VO 
THE COMING STORM 


A BroaD road, which leads through a broken country, 
runs out of the foreground on the right, and a cart 
with a white tilt and drawn by a white horse forms 
the central object in the composition, contrasted by a 
flash of sunlight with the deep shadows in the land- 
scape. Beyond, to the right of the cart, is a broken 
bank, and on the left a hillside crowned by a single 
tree. In the distance the sky is filled with dark, tur- 
bulent storm clouds, suggesting the rise of a strong 
gale, and the sun sends vivid flashes of light through 
the clouds, touching the landscape here and there 
with luminous spots. 


Height, 20 inches; length, 26% inches. 


— —_ 
—_ 


No. 77 i 
| 
J. E. CROME/2; | 
(‘OLD CROME”)® , V 
ENGLISH 
1769—1821 _ 


THORPE, NEAR NORWICH 


In the near foreground rises an ancient tree with 
gnarled and twisted branches and sparse foliage. It 
has evidently suffered from a recent storm, for sev- 
eral large branches lie scattered on the ground. In the 
middle distance, beyond the tree, is a sunlit cottage 
on the edge of a wood, and farther away on the right 
is a glimpse of a pleasant farming country. 


Height, 2314 inches; width, 17 inches. 


No. 78 


R. HILLINGFORD 
GERMAN 


No 
ae ee i 7 


4-14. 


TWIXT LOVE AND DU 


Tuts illustrates an incident which has formed the 
theme of many a tale, picture and poem. A young 
lady, about to elope with her lover, stands heistat- 
ingly at the head of a short flight of steps, about to 
close the door of the lofty entrance of a great park 
or garden. Standing at the newel post of the stone 
balustrade, her lover, with an impatient gesture, 
urges her to join him, pointing toward a coach which 
is seen in the distance through an opening in the 
wall. 


Signed at the lower left, R. H1rt1nGForp. 
Height, 24 inches; width, 18 inches. 


No. 79 oe / 


EDOUARD DETAILLE , gf 
FRENCH _o : 


a. Ane 1848— \ “ in 


DEPART DU CANTONMENT 


A SMALL detachment of Napoleonic cavalrymen has 
halted in a reconnoitring expedition somewhere in 
the Alps, to spend a pleasant hour at a chalet among 
friendly peasant folk. Orders have been received for 
the soldiers to march again, and they are hurriedly 
mounting and bidding farewell to their hosts. The 
projecting tiled and thatched roof of the chalet rises 
out of the picture. On the balcony, partly in the 
shadow cast by the roof and partly in the sunlight, 
the farmer and his comely wife stand watching the 
little scene below them. The principal group in the 
right foreground is a mounted cavalryman shaking 
hands with a priest. Beside him stand a peasant girl, 
and a second soldier about to mount. In the left fore- 
ground two soldiers of the same detachment are hur- 
riedly preparing to join the moving troop, which is 
seen in the middle distance on the right. 


Signed at the lower right, Epovarp Dera, 1895. 
Height, 23 inches; length, 28 inches. 


97K Mnighh 6 rls beh 096" Lhe MEXKY 
Sela - lack th 5G 900 4 


No. 80 


ve DAVID COL 
ie 5 . BELGIAN 


Ke o 
ren 1822 
Doe 


THE PUNISHMENT 


AN angry cobbler, having caught the cat which has 
killed his canary, is chastising the animal, holding 
her on the kitchen table with one hand; while he beats 
her with the other. His wife struggles in vain to quiet 
him, clasping him around the waist with one hand 
and tugging at his apron with the other. Through 
the open door on the right appears a group of mis- 
chievous schoolboys eagerly applauding the cob- 
bler in his rage. The rude interior is in confusion 
with overturned benches, spinning-wheel and broken 
crockery, and on the left of the cobbler and his wife 
are seen his bench, his lasts and various tools of his 
trade. j 


Signed at the lower left, Davw Cort, ANTWERPEN. 


Height, 23% inches; length, 2934 inches. 


No. 81 


EUGENE VERBOECKHOVEN 
GERMAN 3 ‘ Ave 


EWE AND LAMBS 


In a comfortable stable, with straw-littered floor, 
stands a shaggy ewe with her new-born twin lambs 
lying beside her. A bright shaft of sunlight from 
the left illuminates the group, and casts strong shad- 
ows on the straw, throwing the background into 
mysterious gloom, broken on the left by a rough- 
plastered wall and on the right by the rude frame- 
work of a stall on which perches a single hen. 


Signed at the upper left, EuckNE VERBorcKHOVEN F., 1859. 
Height, 20% inches; length, 29 inches. 


No. 82 


V. WEISHAUPT 
GERMAN 


Ve. 


pe 


WASHING DAY H 


In the foreground, on a grassy bank which slopes 
down to the riverside from a group of high build- 
ings on the right, is a busy group of washerwomen 
and peasants. The girls are busy with their linen, 
scrubbing it on a rude wooden platform, and near 
them is a peasant girl who, seated on a farm horse, 
is chattering with a fisherman and his small boy. Be- 
yond the group and to the left are the towers and 
roofs of a town which occupies the summit of a hill, 
and a lofty stone-arched bridge crossing the stream. 
The sky is covered with gray clouds, and the light is 
concentrated behind a circular tower, the prominent 
object in the middle distance. 


Signed at the lower right, V. Wxisuaurt, MUNCHEN. 
Height, 281, inches; width, 22%, inches. 


Bas 


Ww 


No. 83 | X L 


CONRAD KIESEL iv Cn 
GERMAN 


Contemporary é y, 
” ger A ee, y 
THE DUET 6 72 J VANE LAL 
A DARK-HAIRED maiden of classic type, with a blond 
companion leaning on her shoulder, holds the parch- 
ment leaves of a musical score widely extended be- 
tween both hands. The two maidens are apparently 
studying the old notation. Beyond the figures is seen 


the expanse of an open sea, with sunlit clouds at the 
horizon framed on either side by masses of foliage. 


Signed at the lower left, Conran KIEsEL Pxt. 
Height, 24°/, inches; length, 2934 inches. 


No. 84 


JOHN LEWIS BROWN 
FRENCH 


ae 


al 


he CR Hy 
GOING TO MARKET 
In the foreground stands a young girl with red cap 
and petticoat, white chemise and blue kerchief, with 
a basket of vegetables on her arm. She is driving a 
cow to pasture, accompanied by three goats and a 
sheep dog, which stands near her. On the left, beyond 
the cow, is a straggling, storm-shattered tree, and on 
the right, beyond the group of goats, is a vista across 
a level country with a clump of trees against the sky. 


Signed at the lower right, Joun Lewis Brown, 1876. 
Height, 28 inches; width, 22%, inches. 


No. 85 


MLLE. ROSA BONHEUR 
FRENCH 


1822—1899 


CATTLE we e LS. bhireta 


A BROWN bull stands in a grassy pasture, keeping 
guard over two cows, which are lying close together 
on the grass nearby. His head is raised and his mouth 
is open, as if he were lowing in response to a call 
from a rival. Beyond the little group in a wide land- 
scape, broken here and there by clumps of trees and 
low hills, and extending across the foreground is a 
narrow stream, partly in the shade and partly in the 
sunlight, in which a single duck is swimming. The 
sky is partly covered with soft clouds, touched here 
and there by the sunlight. 


Signed at the lower left, Rosa Bonnevr. | ag x a 
‘er 
Height, 23 inches; length, 31 inches. 
Collection of Mrs. BLoom¥rietp Moore, London, 1900. 
Dadi soit RAR METORE eae 


No. 86 


ARLES EMILE ayn 
FRENCH 


1813—1894 ‘. wy ie 
\ “ye! 


a 
IN THE FOREST OF FONTAINEBLEAU 


AN immense oak tree rises from a knoll in the fore- 
ground, and with its tangled branches and dense 
foliage covers a large part of the sky and extends 
out of the picture. Broken branches and various scars 
denote its great age, and its size is made apparent by 
the figure of a child crouching near the trunk, and a 
flock of sheep scattered over the grass nearby. A — 
shaft of sunlight strikes the tree and the little knoll, 
casting a deep shadow on an irregular rank of bushes 
beyond to the left, and over the foreground to the 
right. In the distance is a flat plain with a sunlit hill- 
side in the horizon. The sky is covered with rolling 
masses of cumuli, brilliantly illuminated by the sun 
behind the oak. 


Signed at the lower left, Cu. Jacque. 
Height, 31 inches; width, 24% inches. 


No. 87 


FELIX ZIEM 
FRENCH ™ 8 


VENICE 


On the right are the familiar mass of the ducal pal- 
ace with the Campanile, and the water-front of the 
Riva, with numerous craft of all descriptions, from 
the fishing boat to the peasant’s barca. On the left are 
various gayly decorated sailing craft, one of which, 
a prominent object in the composition, is evidently 
the Bucentoro heading the fleet of official vessels 
on its progress up the Grand Canal. A prominent 
object in the near foreground is a gondola with two 
oarsmen and a party of gayly dressed men and 
women. In the extreme distance is seen the entrance 
to the Grand Canal, softened by the warm summer 
haze which covers the sky. 


Signed at the lower right, Zim. 
Height, 24 inches; length, 35 inches. 


No. 88 


ADOLPHE SCHREYER 
GERMAN 


1828-=1899 G) / 


THE COURIER ye SULTAN 


A RICHLY dressed Moor, mounted on a fine chestnut 
horse with gorgeous trappings, stands at the head 
of a group of horsemen, on the edge of a plain at 
the foot of rough hills. The official, with his escort, 
has evidently just left the shelter of the hills, and 
halts for a moment examining the landscape with a 
suspicion of danger. In the immediate foreground a — 
dark-skinned native on an undersized gray pony is 
alertly watching the point of interest. In the dis- 
tance, beyond the group, is a gently sloping sunlit 
tract of treeless country. The sky is partly covered 
with soft masses of thin vapor showing patches of 
deep blue above. 


Signed at the lower right, Ap. SCHREYER. 
Height, 263, inches; length, 38 inches. 


No. 89 


JEAN CHARLES CAZIN 


FRENCH ‘ 

1840—1901y,, Away” 

: ake? 
LA ROUTE ae 


A BROAD sandy country road sweeps around from 
the foreground to the left, and disappears in the mid- 
dle distance, beyond a roadside cottage overhung 
with tall trees. In the foreground, on the right, a 
large church, with projecting roof, corner buttresses, 
rude belfry and simple windows stands on a grassy 
bank, which is surrounded by a rough stone wall. On 
the right, in the immediate foreground, is a low, tiled 
building with green shutters, and near it is a country 
cart loaded with wood. The sky is completely covered 
with gray clouds, except near the horizon, where a 
narrow strip of sunlight shows through the trees. 


Signed at the lower right, J. C. Cazin. 
Height, 31 inches; length, 38 inches. 


ntl 
ay LUDWIG KNAUS 


“ey? GERMAN 


1829— # sth Aap 


Phy 
we 


THE POACHER mye n i 


A RED-BEARDED German peasant, in blue blouse and 
fur-trimmed cap, rough trousers and coarse boots, 
stands, flintlock in hand, near the trunk of a large 
oak tree, in an attitude of keen expectation, evidently 
waiting a chance for a shot at some ground game 

_ among the underbrush. Beyond the massive trunk 
of the oak is seen on either side an open forest in- 
terior, with large scattered trees. In the foreground 
is a decaying tree trunk, half covered with moss, and 
a straggling bush covered with autumn foliage. 


Signed at the lower middle, L. Knaus, 1870. 
Height, 37 inches; width, 26 inches. 


No. 91 


ANTON MAUVE We 4) : 


DUTCH 


a 


1838—1888 4 


x yer 
‘: Pa aaa 
Sa! Ne 
& Re 
‘ Fo 


re : 
THE GORSE HARVEST Cr iA 


In the immediate foreground a sturdyold peagant, 
in blouse and sabots, is driving a single ox, hitched 
to a two-wheeled cart piled up with freshly cut gorse. 
The deeply rutted road which runs out of the picture 
in the foreground on the right can be traced far to- 
ward the distance over a level tract, thickly covered 
with gorse. The scene is flooded with broad sunlight, 
which strongly accentuates the foreground group 
and brings it into strong contrast with the landscape 
beyond. Above the horizon, which, with the exception 
of a few low hills on the right, is practically level, 
rises a broad sky, nearly covered with soft cumuli, 
touched here and there with the strong sunlight. 


Signed at the lower right, A. MavvE F. 
Height, 26 inches; length, 42% inches. 


No. 92 


{© THOMAS SIDNEY COOPER, R.A. 
') ENGLISH 


CAE GEM 
IN THE MEADOWS 


A sMALL herd of cattle is assembled in the fore- 
ground on the sedgy bank of a narrow stream, one 
of them drinking, two lying down, and the others 
feeding or chewing the cud. A quiet stream, broken 
by reeds and grass, extends nearly across the fore- 
ground, and carries the eye to the remote distance on 
the right, where a sloping hillside, dotted here and 
there by clumps of trees and cottages, meets the river, 
and a road crosses it by a stone-arched bridge. The 
lofty sky is almost covered by luminous clouds, and 
a large flock of birds hovers toward the zenith. 


Signed at the lower left, T. Swney Coorrr, R.A., 1893. 
Height, 2314 inches; length, 35 inches. 


No. 93 é 
JAN VROLYK vf 


; e ait, 
1846—1894 Nt i 


CATTLE <7 AL, then ter 


In the foreground, ankle-deep in the lush grass of 
a broad flat meadow, are two cows, one of them 
drinking from an irregular pool of water which ex- 
tends across the foreground, broken here and there 
by reeds and water weeds. In the left in the middle 
distance is a peasant, and beyond him a broad area 
of sky is completely covered with fleecy masses of 
vapor. 


Signed at the lower left, Jan Vrotyx, ’89. 
Height, 21 inches; length, 33 inches. 


No. 94 


WILLIAM ADOLPHE BOUGUEREAU 
FRENCH 


1825—1905 


ls = 
SEA SHELLS / Ug Pitti 


A FULL-LENGTH life-size figure of a little girl with 
bare feet and legs, perched on a flat rock timidly ex- 
tending one foot toward a small pool of water. She is 
dressed in a coarse petticoat and bodice, over a rag- 
ged white chemise, and her fair hair is bound to her 
head by a dark-colored ribbon. Beyond the child is 
a view along a kelp-covered beach, which extends in 
an irregular line to the distance, where the buildings 
of a large town form an irregular horizon line. In 
the foreground on the right are.a few sea shells 
among the pebbles of the beach. 


Signed at the lower left, W. BovcuErgav, 1872, 
Height, 44 inches; width, 31% inches. 


Von No. 95 


EMILE VAN MARCKE 
FRENCH 


£ ae PHlhrmge. 


RETURNING FROM MARKET 


In the foreground a sturdy spotted bull, ring in 
nose, is moving with heavy dignity along a rough 
seaside road, followed by a cow and accompanied by 
a flock of bleating sheep. Just behind this group of 
animals, which is in a strong effect of sunlight, is 
seen the farmer’s horse with panniers, upon which 
sits his daughter. The farmer himself trudges 
nearby, struggling to keep his hat on his head in the 
heavy gale. In the middle distance is a small bay of 
the sea, with flat-topped hills beyond, and the water is 
roughened by the strong wind, which drives a mass 
of lowering clouds across the horizon and over the 
hilltops at the left. 


Signed at the lower left, Em. Va~ Marcxe. 
Height, 38 inches; length, 56 inches. 


/ 


x 


Ae 


No. 96 


EUGENE VERBOECKHOVEN 
GERMAN 


| ee 


EARLY MORNING AT 


On the left is a characteristic Netherland farm- 
house, part cottage and part stable, and from the low 
thatched end of the building come numerous cattle 
and sheep, which are being driven to their daily pas- 
ture by the farmer with his dog. Beyond this group 
of animals, which is in strong sunlight, is a level 
meadow with a second thatched cottage surrounded 
by trees in the middle distance, and the level line of 
the horizon still farther away. Masses of cumuli 
touched by the early morning sun float lazily in the 
sky. 


Signed at the middle left, KuckNE VERBOECKHOVEN F., 1855. 
Height, 31% inches; length, 42 inches. 


os 


FRANCOIS FLAMENG 
FRENCH 


“Theaw E neg 


# 


JEAN BART AT VERSAILLES 


In an anteroom in a stately palace at Versailles, Jean 
Bart, the famous privateer and favorite of Louis 
XIV., is awaiting an audience with his Majesty. 
Seated in an attitude of negligent ease near a gilded 
console table, he smokes a long pipe, and apparently 
enjoys the timid discomfiture of a group of cour- 
tiers who, in sumptuous attire, are lingering near 
the doorway, afraid to trespass on the leisure of the 
hero. Beyond them a narrow corridor stretches away 
to a distant room, where a strongly lighted window 
is reflected on the whole extent of the polished floor. 
Above Jean Bart the wall is hung with a tapestried 
panel, and a small rug, near which he has carelessly 
thrown a lighted bit of paper, is stretched on the 
floor in front of him. 


Signed at the lower right, Francois FiamMene, 1883. 


Height, 38 inches; width, 31 inches. 


No. 98 


LUDWIG MUNTHE 


GERMAN 


1841—1896 7 
foarte bes 


peste 


A WINTER TWILIGHT 


THE motive for this picture has been found in some 
populous town at the North in mid-winter, when the 
ground is partly covered with snow and the sky is 
filled with vapor. From the foreground a road, 
muddy and deeply rutted, leads across a wooden 
bridge over a canal or stream, into the heart of a 
crowded thoroughfare between rows of wooden 
houses of dilapidated aspect, with many varieties of 
gables and windows. In the distance on the left a vast 
mass of buildings rises high above the wintry sky, 
and on the right are a row of cottages and a mass of 
leafless trees. The pall of twilight is over the whole 
scene, and the lighted windows of the houses near the 
bridge suggest cheery interiors. 


Signed at the lower left, Cu. Montue, "79. 
Height, 2734 inches; length, 42% inches. 


yoo 


No. 99 


W. DENDY SADLER 
ENGLISH 


mine el WD. yy, oted fun 


FORBIDDEN FRUIT IN LENT 


A ROTUND and jovial monk is about to begin a 
hearty repast in Lent, when a more strict brother, 
discovering him at his meal, stands behind him re- 
proving him for his transgression. In the fore- 
ground on a white tablecloth stands a pewter platter 
- with a ham. Under the hand of the monk is a plate 
with slices of the meat, and near at hand stand a 
flask of Chianti wine and a nearly empty glass. 


Signed at the lower left, W. Denvy Santer, ’83, Pp. 
Height, 3344 inches; width, 251, inches. 


~, 
—— 


No. 100 


W. DENDY SADLER 
/ ENGLISH 


| Contempora 


“WHO IS IT?” 7h 


A Franciscan monly whose'duty it has been to 
officiate in the scullery, has been peeling potatoes in 
the garden seated on a wooden bench under a tree. A 
young brother of the same order has stolen up be- 
hind, and putting both his hands over the older 
monk’s eyes, jokingly asks him to guess who holds 
him. Beyond the figures is a glimpse of a large sunlit 
field, with a fringe of trees beyond. 


Signed at the lower left, W. Denpy Saver, 783, P. 
Height, 3314, inches; width, 25% inches. 


AMERICAN ART ASSOCIATION, 
MANAGERS. 


THOMAS E. KIRBY, 
AUCTIONEER. 


ARTISTS REPRESENTED AND 
WORKS 


ANDREOTTL F., _ 
A Cavalier 


ARTZ, Apo.uprHe, 
The First Pair 


BAKER, Georce A., N.A., 
Head 


BERNE-BELLECOUR, E. P., 
The Wounded Soldier 


BIRELLI, A., 


An Incredulous Audience 


BONHEUR, Mute. Rosa, 


The Monarch 
Cattle 


THEIR 


CATALOGUE 
NUMBERS 


24 


32 


26 


40 


44 
85 


BOUGHTON, Georce H., R.A., 
The Young Widow 


BOUGUEREAU, Witttam ApoLpHe, 
Sea Shells 


BRIDGMAN, Frepericx A., N.A., 


Sunset 
Noonday Rest 
On the Nile 


BRISSOT, Fétrx Satvurnin, 
Sheep 


BROWN, Joun Lewis, 
Going to Market 


CAILLE, Léon, 
The Scullery Maid 


CAZIN, Jean CHARLES, 
La Route 


CHEVALLIER, R. M., 


Street in Cairo 


CATALOGUE 
NUMBERS 


35 


94 


58 
61 
67 


38 


84 


89 


AQ 


CATALOGUR 
NUMBERS 


CHEVILLARD, V., 
At Home 4 


CLEMENTI, S., | 
Market Scene, Spain 11 


COL, Davin, 
The Punishment ~ god 


COLLINS, Wixu1am, R.A., 
At the Ferry 45 


COOPER, Tuomas Sipney, R.A., 
In the Meadows 92 


CONSTABLE, Joun, R.A., 


On the Banks of the Stowe 19 : 
A Gypsy Camp 20 dl 


COROT, Jean Baptiste CaMILye, 


Landscape | AY 
The Fishermen 12 
COX, Davin, 


Crossing the Common 55 


CATALOGUE 
NUMBERS 


CROME, J. E., (‘ Old Crome”), 
Thorpe, near Norwich 17 


DAUBIGNY, Cares FRANCOIS, 
Landscape 16 


DE HAAS, J. H. L., 
Cattle 66 


DETAILLE, Enovarp, 
Départ du Cantonment AO 


DIAZ DE LA PENA, Narcisse Vircize, 
L’Amour Vainqueur 21 


FRERE, Epovann, 


Looking in the Well 25 
The Little Washerwoman 31 
Mother and Child 41 
Mother and Children 46 
The Children’s Gathering 75 


FLAMENG, FRAncots, 
Jean Bart at Versailles 97 


CATALOGUE 
NUMBERS 


GEROME, Jean Lion, 


Italian Musicians 30 


GRISON, Juxes Apo.pHe, 
The Hunter 5 


GUILLEMIN, Atexanpre Marie, 
Expectations 7 


HELMSLEY, Wituram, 
Rejected Addresses 28 


HERRMANN, Leo, 


The Cordon Bleu 10 
Suzette’s Slipper 43 


HILLINGFORD, R., 
“© ?Twixt Love and Duty ” 18 


HUNTER, Coun, R.A., 
The Passing Storm 37 


ISRAELS, Joser, | 
The Widower "3 


JACQUE, CHar es Emtz, 
Pigs 
Eventide 
In the Forest of Fontainebleau 


JOANOWITCH, P., 
Albanian Chief 


KIESEL, Conran, 
The Duet 


KNAUS, Lupwic, 
The Poacher 


KOEKKOEK, Jan Hermann, 
On the Zuyder Zee 


LAMBINET, Emize, 
On the Cliff 


LEADER, B. W., R.A., 
Near Abinger, Surrey, England 


LESREL, A. A., 
The Smoker 


CATALOGUB 
NUMBERS 


17 
74 
86 


53 


83 


90 


65 


57 


CATALOGUE 
NUMBERS 


LOMAX, Joun Arruur, 
Recruits Wanted 23 


LOUTHERBOURG, Puitirerre J. pe, R.A., 
At the Watering Place 34 


MADRAZO, Raimunpo pz, 
« The Broken Pitcher 29 


MARIS, Jacoz, 
Ploughing 36 


MAUVE, Anton, 


Cattle 48 
The Gorse Harvest 91 


MERLE, Huvcvues, 
Mignon 62 


MICHEL, Georcegs, 
The Coming Storm 716 


MORLAND, Georce, 


The Gamekeeper’s Lunch 51 
At the Ale-house Door 52 


MOSLER, Henry, N.A., 
A Farm Cottage 


MUNTHE, ‘Lopwic. 
A Winter Twilight 


NICOL, Ersxinz, A.R.A., 


Patience is a Virtue 


OMMEGANCK, B. P., 
Farm Life 


OPIE, Joun, R.A., 
Sleeping Girl 


PHILIP, J., R.A., 
Penny Peep-show 


PROVIS, A., 
Making Lace 


ROYBET, Ferprnanp, 
The Trumpeter 


CATALOGUE 
NUMBERS 


64 


98 


70 


50 


59 


13 


Bio? REe DSS SS SS XK ROCA at aes 


68 


CATALOGUE 
NUMBERS 


SADLER, W. Denpy, 


Forbidden Fruit in Lent 99 
Who is it? ” 100 


SCHLESINGER, F., 
Roasting Apples 54 


SCHREYER, Apoupue, 
The Courier of the Sultan 88 


STANFIELD, C., R.A., 
On the Coast, Bretagne 60 


TOPHAM, Francis Witiiam, R.A., 
The Wine Shop 39 


TROYON, Constant, 
Sheep 15 


T’SCHAGGENY, Epovazp, 
Sheep Q7 


ULRICH, Cuartes F., A.N.A., 
Finishing Touches 29 


SES Pe aes ee ae 


VAN MARCKE, Esme, 
Milking Time 
Returning from Market 


VERBOECKHOVEN, Evebnx, 


Ewe and Lambs — 
Early Morning at the Farm 


VIBERT, Jenan GeorGEs, 


Les Indiscrets 
The Cardinal 


VOLLON, Awnrorye, 
Landscape 


VROLYK, Jan, 
Cattle 


WARD, James, R.A, 


Lions 


WEBB, James, 
Whitby Pier 


WEISHAUPT, V., 
Washing Day 


CATALOGUE 
NUMBERS 


49 
95 


81 
96 


14 
18 


63 


93 


33 


12 


82. 


WEISSER, F., 
In the Cardinal’s Study 


WYWIORSKI, M. G., 
A Winter Scene in Poland 


ZIEM, Fett, 


Venetian Water-Front 
The Leaning Tower of San Pietro 
Venice 


CATALOGUE 
NUMBERS 


9 


69 


56 
val 
87 


Mey, 


Nai 


< eueee pose #, 


KNOX ( COLLECTION i 


One Hundred Paintings Bring 8: 
645—Large. Crowd Attends 


ey a 


| ey esa trots in privat 

lery of Edwatd’M. Knox $140,645 was realize. 
idelssohn Hall. ‘Tie hall was 
ed. The sale was conducted (Thomas BE. E! 

The highest price reached “was $13,400. for 
Route,” by Carzin, which started at $3,000 an: 
knocked down to C. K. G. Billings. Mr. Billing‘ 
bought “Returning from Market,” by Van M 
for $13,100; “In the Forest*of Fontainebleav 
Jacque, for ‘$7,300; “Venice,” by Ziem, for 
“The Monarch,” by Rosa-Bonheur, for $1,750; 
tle,” by J. H. L. de Haas, for $875; “Sheer 
Brissot, for $450, and ‘‘On the Coast of Bret 
by C. Stanfield, R. A., for $385. 

Emerson McMillin obtained for $8,500 ea 
Banks of the River,” by Corot. ‘‘The Wid. 
by Josef Israels, was bought by ‘Berne’: 
| $8,000, and J. G, Cobb, after spirited biddir } 
' “Départ du Cantonment,” by Detaille, for 

“Sea Shells,” by Bouguereau, was knocke | 
to W. W. Fuller for $6,500, and “The Gors ’ 
vest,”” by Anton Mauve, to J. Epstein, for $3, 

The sales in detail follow: 


Title, artist. and buyer. ie 
The Scullery Maid, Léon Caille; A. Ma apeng al 3h, 
€ 


f 
t 
; 
; 
t 
| 
| 
| 
| Head, Geo e A, Baker, N. IAs Ww. ee 
; On the Zuyd es Zee, Jan Hermann Koekkoek; 7 
VALE OTe oe bees oo ce Geo alo ciebie Viele eps s clold Quite ak ie ; 
At Home, ie Chevillia rd: WwW. S. Thurber Shiga eset 
The Hunter, Jules Adolphe Grison; J, A. Strus: | 
ber. SCOP SOHSSEHSHSEEHRORALAHERE PSS HHT SHO e soe HHH eH OE { 
| gee ASIN A. Lesrel; Emerson MacMillan. | 
xpectations, ViAeankes Marie Guillemin....... 
Bleeping G Girl, John ore. R. A.; Emerson: Mac £ 
| Ree ABA AS PUES bo KG seo Mie ok oN a oh diealee we 
{ ae: pus Cardinal's Study,” 5 Welsser; H. D. Beb 
9) GOCK ooe cw sic chee aoe ew hens 00 00. 6ib 6 6 6B ce wig 0 6 0s 00 aie 
| The. Cordon Bleu, | Léo Herrmann; “Warner Va 
He EAPOPURTIS ie Cie leo Pinna sie oie WIR RUN lose e ead bya ies al nile ele 
| Market Scene, Spain, a Clementi; ““Dwigkt’’.. 
| Whitby Pier, James Webb; Dr. F. H. Wigeins.. 
| Making Lace, A. Provis; Jullus QSAIMNG SoS Sale ais 
| Les Indiscrets, Jehan Georges Vibert;..,..... oe 
| Sheep, Constant Troyon; E. MacMillan ailoca mache oe 
Pacer Charles pbdciceeig Daubigny; E. sity 
’ illa eevee er ew ee ee ee eevee @eeseeoeeeve eereveee 
| Pigs, Charles Hmile "Jacque: 7 Il “Morris Vig aiuie 
ihe aheiniatine aap Gone Vibert; J.’ D. ies 


ese eee eee see eese ees essere Hares tase eveevover 


CTR Spier... ccs cwcen siete ceee crease venese 
A Gypsy Saetande John “Constable, eet AG 4 Tuli 
PORTE Hainer dic bile ebb: wire 06, 619 stp Siew ie Wleret ib: 6 ere eie Glae'e's 


Pefia: H. Mirai Hee Aisha 
2 Broken caitbei Raimundo de “Madrazo; G 
Benjamin ...- coves ecsesnscrrecsteercce ab 
Recruits Wanted, "John Arthur Lomax; Fi 


Pe D. Duffy... cc cece wesc eee esse enc cerseeees 
Sheep, Edouard 1’ Schageeny: 'B. Harburger. whe 
Meserted Addresses, ee is qealeuny Becacl 


SY RAMOS es psc cs cen as bn ete Vee wee deve nel aly tse , 


Italian Musicians, Jean téon Géréme; E. 
ATTOWS coveccectcroteunescreereeserctcar sae 
one Little Washerwoman, Edouard Brére; M. 
Pliiewenheim oo ccc eee cc eset en see cee seesnscees 


The First Pair, Adolphe Artz: ¥F. 8. * Flower. . 
Lions, James Ward, R. A.: F. 8. Flower..... 
' At the Watering Feet Brshippe J. de Louth 
BR Riess ER, MONTIs..&- 2 ore xe neieinitie os 
A sh a Rl Widow, George H. Boughton, ‘R. A. 
FI. Morris... . sees eee eaee HU wige a 6: ia hacedeie A aiawls! 9! 


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